Katina Bitsicas is a Greek-American new media artist who utilizes video, installation, AR and performance in her artworks to explore grief, loss, trauma and memory. She has exhibited worldwide, including The Armory Show, PULSE Art Fair, Satellite Art Fair, Superchief Gallery NFT, Plexus Projects, the Wheaton Biennial curated by Legacy Russell, CADAF: Digital Art Month Paris, Torrance Art Museum, Westbeth Gallery, New York, Eye’s Walk Festival, Syros, Greece, 57th Dimitria Festival, Thessaloniki, Greece, HereArt in New York, Art in Odd Places in Orlando, Digital Graffiti Festival, and the St. Louis International Film Festival. In 2022, her artist book Luci: The Girl with Four Hearts was published with Flower Press. She received her BA from Kalamazoo College, Post-Baccalaureate from SACI in Florence, Italy, and MFA from the University of South Florida. She is an Assistant Professor and Coordinator of Digital Storytelling at the University of Missouri, where she also conducts research with the MU School of Medicine on utilizing digital storytelling as a meaning-making intervention for bereaved family members. This collaborative research has been published in Death Studies, OMEGA: Journal of Death and Dying, and the Journal of Social Work in End-Of-Life & Palliative Care.
In my creative practice I explore personal loss and trauma through video, installation, AR, photography and performance to make parallels between these experiences. My multimedia works revolve around the theme of bringing back to life, while the afterlife is still looming near. The overarching theme is how we as humans can connect via shared experiences and make meaning of these experiences. Metaphors, such as red thread, are used as symbols for loss and the longing for connection. Often times these works are created or installed in the natural environment, making parallels between the human body/systems and these unseen systems/structures within nature. I see the power in nature being able to bear witness to the remnants of these life experiences.
“Lifeline is an artist book created from paper from an EEG machine that was discovered in an abandoned hospital in Florence, Italy. This book is filled with quotes from the MMPI (Minnesota Multiphasic Personality Inventory) and photographs of my explorations. The book, which reflects on moments of my own life, consists of chapters that I am slowly letting go. A red thread creates a direct sculptural connection to the viewer, linking them to the personal contents of Lifeline.
Nature (Volume 9) was created from volume nine of the Audubon Nature Encyclopedia, a twelve-volume set published in 1965. The alteration to the book comprises a near total erasure, by hand, of the contents. The only information remaining from the original text are structural elements—the page numbers and introductory letters to each of the alphabetized sections. The book functions as a space where erasure becomes a metaphorical gesture to consider the way in which climate change and historical racism intersect.
Altering this book functions on several levels. Changing the title of the book to “Nature” and erasing its entire contents creates a metaphor for the effects of human action on the environment. But this particular book also lent itself to creating a site for examining another erasure.
John Audubon, in honor of whose name this book is published, owned and sold enslaved people, a fact that until recently had been erased from popular consciousness. The reemergence of this history ignited debates concerning the fate of the legendary Audubon Society. This artwork brings the viewer face to face with the laborious and unnatural effort that the erasure of historical racism requires, asking them to consider it as an act of intentional misdirection rather than mere obliteration.
In an era wherein the history of slavery is being erased from school curricula, and the fact of ongoing climate catastrophe is actively ignored, this artwork serves as a reminder of the perils of willful ignorance and the erosion of collective wisdom.
Guylaine Couture lives in Montreal, speaks French, teaches graphic design and shares her discoveries on her blog. She participated in exhibitions in Canada, the United States, in England and Australia.
Guylaine started making artist books after a short bindery workshop some years ago. She has this obsession with creativity and paper for a long time. As a graphic designer, Guylaine is upset by the enormous quantities of paper and words used and abused to push a commercial message. The re-use of printed documents, pieces of photos, and chosen words is a perpetual game for her. Using collage, drawing and manual printing, she tries to give a new direction, a second life to this material. Each book attempts to create a fusion between the contents and the container while questioning the manipulation of the object by the reader. Browse slowly one of its artists' books is an experience, a conversation, a relationship with her and her concerns.
“This work was made during the summer of 2020 when I was feeling acutely aware of the distance between myself, my family, and my friends. Making the book was an exercise in dealing with the sensations of sorrow, love, and loss, as well as my admiration for those who have been and continue to be important to me.”
Skilled in a diverse range of mixed media including fiber related techniques. Bebe thrives on experimenting with different and unconventional methods. My sculptural art is not only contemporary but expands of boundaries by experimenting with unconventional materials. I want my art to draw in the viewer and have them realize the importance of what I’m trying to convey.
In the making of “Ode to Vincent Van Gogh and Edvard Munch,” I set out to transform the traditional needlepointing into a completely different realm. Instead of using the traditional needle, embroidery thread and canvas; I use an exacto knife, shredded paper and perforated aluminum. Taking the perforated aluminum sheet I hand form the shape. Next I shred color plates from a book on modern art to use as my pallet to make the imagery. I select one piece of paper at a time using an exacto knife to weave into the metal leaving both ends free and then repeat this process thousands of times. The purpose is to create a multi-sensory experience for the viewer. To me failure is not in my vocabulary, it only leads to a new learning experience that may lead to something extraordinary.
Artist Website: https://www.artrocksme.com/
Artist Instagram handle: bebekuhr
Kunstadt's works often invoke a metaphysical quality. Her works reference antique books, music manuscripts, maps and artifacts - deconstructing paper and text and using it in metaphorical and playful ways. Through the manipulation of the materials (geography books from the 1860's), the carefully charted topographies, geographies, boundaries and coordinates are physically sliced, sewn, woven and layered - ultimately transformed and inviting new explorations.
Boston born, with a small town New England childhood, Kunstadt received a BFA, Hartford Art School, Hartford, CT. and continued with postgraduate studies at the Akademie der Bildenen Künste, Munich, Germany. Nine years ago she re-entered a familiar landscape as in her youth, moving to the Hudson Valley, having lived for 35 years in NYC.
Recent awards: Florence & Irwin Zlowe Memorial Medal of Honor Award , National Association of Women Artists, 2022; ASK/Kingston Annual Juror's Award 2021; 2017 Kuniyoshi Fund Award; Medal of Honor & The Anna Walinska Memorial Award 2017 and the Mastrangelo Environmental Art Award 2021, National Association of Women Artists; Award for Excellence 2016, Edward Hopper House Museum & Study Center, Nyack, NY.
Public Collections: George J. Mitchell Department of Special Collections & Archives, Bowdoin College Library, Brunswick, ME; The Book Arts Collection, National Museum of Women in the Arts, Washington, DC; The Permanent Collection, CBA, NY, NY; Baylor Book Arts
My works reference the material of antique papers and books, deconstructing paper and text, and using it in metaphorical ways.
In the Wanderlust Series, maps from geography books published in 1860's are cut and recombined. The carefully charted topographies, geographies, boundaries and coordinates are physically sliced, sewn, woven and layered - ultimately transformed and inviting new explorations. Layering the paper intuitively, responding to the existing cartographic renderings, allows for new territories to form. Combining the maps with antique wooden shoe forms and map pins, suggests a journey charted, imagined, or remembered. A unique perspective of mapping the world is depicted utilizing the antique materials.
In the geography books from the 1800's the observations of the world provides a record of our long held fascination and curiosity for the lands beyond. That drive to search for understanding continues to capture our imaginations and propel our explorations further.
Sarah Matthews' work is a reflection of her commitment to exploring the complex issues of race, equality, and gender, while shining a light on social injustice. She documents the struggles of breaking through barriers in our society through her layered prints and artist books. As an African-American, Mrs. Matthews has experienced firsthand the impact of negative media images that portray her community as inferior. Through her art, she aims to challenge these stereotypes and empower her audience to see all individuals' beauty, intelligence, and importance, regardless of their race.
Sarah Matthews is a highly skilled printmaker and book artist with a background in art and business. She holds an MA in Art & the Book from the Corcoran College of Arts and Design at George Washington University, an MBA with a Marketing Concentration, and a BS in Sociology from Bowie State University. Her works have been exhibited internationally and are part of prestigious collections at institutions such as Yale’s Beinecke Rare Book and Manuscript Library, George Washington University’s Gelman Library, University of Puget Sound, and Samford University. Mrs. Matthews is also a dedicated educator, teaching Artist Books at the Maryland Institute College of Art (MICA) and bookbinding and printmaking classes at various art centers and platforms.
Piotr Pandyra was born in 1981 in Poland. In the years 2003/2009 he studied his artistic education in the arts at the Faculty of Arts Pedagogical University of Cracow. Phd title at her Alma Mater in 2020. the Prix France Patchwork,10 International Artextures, Exposition d’Art textile Contemporain, France and THE PROF. IRENA HUML AWARD, 10th International Artistic Linen Cloth Biennial 2018, Poland. Works in the collections of: The Special Collections Book Arts and Rare Book Collection, University of Washington, USA and Museum of Crafts in Krosno, Poland.
Following a degreed study in painting, Chris Perry moved to New York where he worked in the art world, first at the Guggenheim Museum, and later for a selection of artists. His own work progressed slowly while he pursued a career in architectural woodworking until 2007 when he returned to making art full time. After residing in Lower Manhattan for almost 40 years, Chris and his wife moved to Ridgefield, Ct. in 2015 where they both have studios in their home.
In 2008 Chris started creating books modeled on flip books, but with the action expressed by cutting away the empty space around the object in question. Because the offset caused by the signatures, he titled the series Ripples, beginning a continuing set of pieces that emulate water in its many forms, both as forces of nature and as structures that are both manmade and natural.
The early pieces stood alone, single volumes that had a small number of pages, each carefully planned and cut into moving shapes, all within the body of the volume. As they became more complicated they accumulated multiple volumes and started to “sprout” appendages of cut paper that extended out from all edges and eventually from the spine as well.
The works incorporate a number of signature elements to elicit the information he wishes the viewer to take away, in the same fashion a writer will use the same elements repeatedly in her writing, like the use odd names, or staging the action in the same time period or location over and over, or simply to have a particular way of crafting sentences.
While still exploring the small spaces he creates within a few hand-cut volumes, Chris is actively planning on pieces that address entire rooms using thousands of volumes to depict water structures such as a hurricane, or tsunami, or a storm front.
Gina Pisello is a paper engineer and book artist. She has taught book arts for over 17 years and is a member of San Diego Book Arts and Puget Sound Book Arts. Her work has been accepted in exhibitions in San Diego County, University of Puget Sound, University of South Dakota, the Minnesota Center for Book Arts and the University of Western England, Bristol. Her work has appeared in the following galleries: Front Porch Gallery, Cannon Art Gallery, Athenaeum Music and Arts Library, Mesa College Art Gallery, Rose Art Gallery, Columbia City Gallery in Washington, 23 Sandy Gallery in Portland, Sebastopol Center for the Arts in Sebastopol, CA, The Ink Shop in Ithaca, NY, and Graficas Gallery in Nantucket.. Her work is in several private collections as well as the University of Washington, UC Berkeley, and the University of Puget Sound special collections.
Books tell stories and by altering them Gina can communicate her stories. Cutting a landscape into an open book or folding the fore edge to make birds fly off the page changes the content of the book without changing its nature. She has been playing with paper her whole life and asking what if...? and artist’s books always seem to hold the answers.
e . y . Reilly is an aspiring jungian artist and astrologer who holds a master’s degree in social work. a wildly eccentric and iconoclastic recluse on the wayward path of individuation, she has for many years, intensively studied archetypal, humanistic, and attachment psychologies as a scholar, autodidact, and practitioner.
Her unexpected soiree into visual arts began in 2022, when at the age of 33, after decades of creative self-exile, she began to weave passages from carl jung’s “memories, dreams, and reflections” together with vintage media into provocative visual poems, puns, and paradoxes.
She has since created hundreds of works which she hopes will continue to evolve in ways yet unforeseen. here, she shares herself as finds herself. One fragment at a time . . .
Professor, Art + Design Department and Director of Winfisky Gallery, Salem State University. Ken received his MFA in sculpture from the School of the Art Institute of Chicago and a BFA in drawing and printmaking from the University of Louisville.
Using an accumulation of artworks that include drawing, collage, sculpture, public art and a collection of found objects, Reker examines and engages the creative process in an assembled installation of his own work. Reker says, “This exhibition is not a traditional retrospective as such, but operates as a new and unique curatorial opportunity.” Utilizing both past and current work as “raw material”, he curates a body of work that coaxes new forms and establishes unexpected relationships in the process. The nature of his artistic process lies within the genre of assemblage. Assemblage is art that is made by organizing disparate elements, often everyday objects and found materials that are scavenged by the artist.
Recently, Reker’s work was selected to appear in THE INVISIBLE COSTS OF WAR, an exhibition at the ARC Gallery in Chicago, Illinois. His work was selected by Adrienne Kochman, PhD., Curator of Contemporary Art at the Ukrainian Institute of Modern Art, Chicago.
Reker’s work was one of 91 works selected and displayed from a submission of over 350 pieces meant to illustrate the social horror of Russia’s recent military action against Ukraine.
I am a visual artist/educator and taught art to children in Texas for fifteen years. I currently teach book arts at University of Houston Clear Lake as well as workshops at The Printing Museum in Houston. My interest in book arts began when I attended a summer residency at Boston University. I completed my Masters in Art Education from Boston University in January of 2013 and the focus of my thesis project was exploring artistic learning through tunnel books. I am interested in the architecture of churches and have made several tunnel books incorporating this subject matter. Nature and the environment are also subjects that I am passionate about, and have incorporated these subjects into several books to express environmental threats. I also enjoy learning new ways to make accordion books, hand stitched books, and experimenting with other forms of sculptural bookmaking.
Janet Reynolds is a visual artist/educator and taught art to students in Texas for fifteen years. She is a professor at the University of Houston Clear Lake where she teachers book arts. She earned her BA in art from Notre Dame College in Manchester, NH and her Masters in art Ed from Boston University. She also teaches workshops at the Printing Museum in Houston. Her interest in book arts began when she attended a summer residency at Boston University. She is interested in the architecture of churches and has made several tunnel books incorporating this subject matter. Nature and the environment are also subjects that she is passionate, about and have incorporated these subjects into several books to express environmental threats. She enjoys learning new ways to make accordion books, hand stitched books, and experimenting with other forms of sculptural bookmaking.
Catherine Robinson is a Colorado based book artist and landscape painter. She received a BFA in 2011 from the School of the Art Institute of Chicago and continued her education at the American Academy of Bookbinding in Telluride Colorado.
Catherine moved to Colorado to learn how to paint landscapes. Her paintings of the landscape inspired and continue to inform her book works today. Her work explores the various technologies humans have used to store knowledge throughout time. Preliterate cultures used mnemonic devices, oftentimes landscapes and natural objects, to store knowledge and increasingly we now use smartphones and tablets. Catherine's work suggests landscapes with her books and her handmade boxes evoke the feeling of a well designed apple product package.
Catherine has shown her work in juried exhibitions throughout the United States and frequently shows in her home state of Colorado. Her work is also included in the Joan Flasch Artists’ Book Collection in Chicago and the Special Collections at Denver University.
Heather Ryan Kelley was born in New Haven, Connecticut. She has a BFA in printmaking from Southern Methodist University and an MA in painting from Northwestern State University. Kelley retired in 2021 as professor of art from McNeese State University in Lake Charles, Louisiana, where she taught painting and book arts.
the New York Public Library’s Berg Collection, Rosenbach Museum and Library, Philadelphia, PA, SUNY at Buffalo’s Poetry Collection, Cornell University Library, James Joyce Centre, Dublin, Ireland, Notre Dame’s Hesburgh Library, Kansas University’s Spencer Library, University Libraries, University of South Dakota, and the Harry Ransom Humanities Research Center at UT, Austin.
On February 3, 2023, at 8:54 p.m. EST a Norfolk Southern train derailed in East Palestine, Ohio. Eleven of the 38 derailed cars carried toxic materials including vinyl chloride. The train cars burned, polluting the air and water in the region. The toxic waste in the form of water and soil was shipped across the country for disposal.
The implications of the train derailment are vast: among them are long-term health and environmental impacts in the region, and questions regarding rail, trucking, oil, plastics industry regulations. As demand for oil and gas for fuel production is decreasing, the industry has shifted to the production of plastics. Texas and Louisiana, including my home city of Lake Charles, are centers for vinyl chloride production.
For Derailment I altered a book of maps of the Ohio River published by the U.S. Army Corps of Engineers in 1966. All the pages of derailment can be seen here: https://heatherryankelley.com/derailment--2023--altered-book
Claudia Sbrissa has exhibited nationally and internationally including ArtVenice Biennale, Italy; Museum of Anthropology, Spain; Birmingham Museum, UK; AC Institute, NY; Art Gallery of Ontario, Canada; Museo Guillermo Perez, Ecuador; Herzen Galley, Russia; Islip Museum, NY; Kentler Drawing Space, NY; Kuppelhalle der Dresdner Bank, Germany; Rutgers University, NJ, Newport Art Museum, RI; Proyecto ace, Argentina; Smack Mellon, NY; Urban Institute for Contemporary Arts, MI. Sbrissa has participated in residencies including Civita Institute, Italy, Giorgio Cini Foundation, Italy; Salem Art Works, NY; Saltonstall Foundation, NY; Women’s Studio Workshop, NY; I-Park, CT; Skowhegan, ME; and Malaspina, Canada. Sbrissa’s work has been written about in Sculpture Magazine, New York Times, Art in America, ARTNews, ArtForum, and other publications.
My work is involved with practices of drawing, printmaking, book arts, and sculpture. My practice is informed by my encounter with the beauty and wonder of creation, nature and the world around us. I seek to give shape to familiar yet enigmatic experiences through my engagement with ideas, methods, and materials.
Lynn lives and works in the tiny town of La Conner in the far Northwest corner of the United States. After retiring from the practice of law in 2010, she began making artist’s books and small works on paper. Old-style cut & paste collage has been and remains a favorite medium, and she frequently also incorporates sewing techniques, thread, fabric, metal, wood and other materials into her pieces. The goal is always to tell a story that might startle, amuse or provoke. Lynn's work has appeared in many national and international book arts and collage exhibitions, in books and magazines, and is included in many public and private collections across the country.
Nancy Steele-Makasci is an interdisciplinary visual artist and art educator. Working in a wide range of reproducible print media, painting, drawing and book arts, Nancy tackles contemporary social justice issues centered on gender/cultural inequalities, economic disparity and human rights. She has received awards from the Utah Arts Council and the American Association of University Women (AAUW) of Utah. Confident that art can impact social thought and change, she regularly exhibits her work locally, regionally, nationally and internationally. Nancy is an Associate Professor of Art in the Department of Art & Design at Utah Valley University and has taught courses in painting, drawing, printmaking, and art education.
Lorna Stevens is a mixed media artist whose work centers on integrating material and technique to represent subject matter. Her books include Paradise Drive, a hand-made book of sonnets and watercolors; The Scrapbook of Endangered and Extinct Birds, a compilation of memorabilia related to loss of species; The Broomstick Story, a tale of transformation from one thing to another; Huia, an altered book chronicling the demise of this extinct bird and The Humor Rag, a collection of humor submitted by artists and office workers. The Brooklyn Museum, the di Rosa Center for Contemporary Art, the Fine Arts Museums of San Francisco, the New York Public Library, the Numakunai Sculpture Garden in Iwate, Japan, and the SF MOMA Research Library have acquired her work. She received her MFA from Columbia University. and teaches at City College of San Francisco.
I am interested in creating visual reminders of what has been lost, or simply become invisible, in our culture and in our environment. My work is conceptually based; my materials and techniques are integral to, and representative of, my subject matter.
Huia: A Story of Extinction is a series that honors this extinct New Zealand bird and chronicles its demise. Their distinctive beaks – long for female, short for male – made them prized decorations for homes. Predatory species moved into their dwindling habitat, and government efforts to save them were too little and too late. In remembrance, a huia was placed on the country’s six-pence coin, and major museums around the world began avidly collecting mounted huia for display.
I began telling the story of the huia at the Henry Miller Library in 1995 with a rendering of the birds in tempera paint on the library’s wooden fence. The huia slowly disappeared during the rainy season. Since then, Huia: A Story of Extinction, has developed into a mixed media installation of books, sound, sculpture and photographs.
The cornerstone of the installation is Huia, an altered book created in collaboration with two other artists. Using a 1925 edition of New Zealand Birds and How to Identify Them as a starting point, I selected only the pages and text that referenced the huia. On these pages Henry Corning, Andrée Singer Thompson and I drew our personal interpretations of the story of the huia.
In 2002 I discovered Lifesong, a recording of extinct and endangered birdsong at the British Library. It included the recreated sound of the huia by British composer David Hindley. We collaborated on a limited edition of Huia that includes David’s Homage to the Huia, a musical composition based on the unique, haunting sounds of the huia.
The installation has continued to grow and change during the past ten years, modified according to site and storyline. Sometimes I include photographs I took of the extraordinary mounted specimen in the New Zealand museums I visited in 2006. Sometimes I incorporate sculptures I made from branches from the huia’s native habitat, which I collected on the same trip.
The story of the huia is the story of man’s tragic inability to correct his own mistakes. Greed and exploitation ruined the huia, just as they threaten to ruin our oceans, our old-growth trees and a thousand other irreplaceable natural wonders.
RHONDA URDANG is an independent studio artist working across multiple disciplines who has been making and exhibiting her work since 1970. She has had a varied and interesting career. Rhonda received her BFA in painting from the University of Nebraska-Omaha and worked as a journeyman color separation artist on high-fashion catalogs in the graphic arts industry in Phoenix. Since founding Flagstaff Feminist Art Studio, she has worked primarily in book art, mixed media collage, digital manipulation, femmage, painting, satire, and experimental film. Since leaving academia, the patriarchy, and pseudoscience behind (some things are folktales or misbelief), her ingenuity has flourished. Her thought-provoking pieces have been shown extensively in regional, national and international shows in 40 states. Rhonda’s visionary work responds to historical and world events, when painting and the female artist have been diminished, silenced, marginalized, and erased. She gains visual pleasure from unraveling the feminine mystique while peeling away layers of eidetic memory in her innovative art practice.
My work concerns itself with the intricacies of my collective unconscious. As a feminist artist living and working at 7,000 feet near my vantage point of the San Francisco Peaks in Northern Arizona, symbols are very much a part of my daily life. G-d has been a womyn since the beginning of time -- a reminder that archeologists believed divinity was considered female for the first 200,000 years of human life on earth. The ovule contains positive and negative forces which together emit camouflaged existence with hidden meanings. I’m interested in making contemporary art that challenges the narrative. We are all heroines of our own collective memory. For decades stargazing has become a crucial part of my world on the Colorado Plateau.
Ellis Island: The Immigrant Experience | Work Statement | Rhonda Urdang
After finding a deserted brown box at a thrift store on Old RT. 66 in Flagstaff, AZ, that I’d stored in my art studio for many years, I looked inside and found a fascinating collection of documents and Passenger Lists that explore the legacy of Ellis Island. Between 1892 and 1924, millions of people from all corners of the globe would sail to the Land of Liberty who waited in long lines -- just a stone’s throw from the Statue of Liberty -- hoping to pass the painstaking inspections that could allow or deny them to set foot, settle and populate the USA. My work is made from wooden boxes, metal hinges, paper dolls, and a Passenger List from Queenstown, Australia.
Website : www.rhondaurdang.com