Everyday Is: A suite of tiny etchings capturing glimpses of the quotidian
2016
The opposite side of the wall on which "Half-Moon Mariner, on fire" was installed featured this installation of etchings.
Support for this project was provided with funds from the State of South Dakota, through the Department of Tourism and the National Endowment for the Arts.
Photographed by South Dakota State University in the Women at Work exhibit at the South Dakota Art Museum in Brookings.
Support for this project was provided with funds from the State of South Dakota, through the Department of Tourism and the National Endowment for the Arts.
Photographed by South Dakota State University in the Women at Work exhibit at the South Dakota Art Museum in Brookings.
Everyday Is: A suite of tiny etchings capturing glimpses of the quotidian
2016
The opposite side of the wall on which "Half-Moon Mariner, on fire" was installed featured this installation of etchings.
Support for this project was provided with funds from the State of South Dakota, through the Department of Tourism and the National Endowment for the Arts.
Photographed by South Dakota State University in the Women at Work exhibit at the South Dakota Art Museum in Brookings.
Support for this project was provided with funds from the State of South Dakota, through the Department of Tourism and the National Endowment for the Arts.
Photographed by South Dakota State University in the Women at Work exhibit at the South Dakota Art Museum in Brookings.
Half-Moon Mariner, on fire
2017
Cut and layered works on paper, including: ink, spit bite and lift ground aquatints, line etching, linocut, screenprint, letterpress, color pencil, gouache, graphite, rubylith film, marker, and pigment ink jet transfer on Hannemuhle Copperplate, Yupo, Duralar, Mulberry, Fabriano, Cartiera Magnani, Lanaquarelle, and Color Aid papers
8' x 7' x 2'
Constructed in the Women at Work exhibit at the South Dakota Art Museum in Brookings. Photographed by South Dakota State University.
middle way
2016
Printed (cut etching, relief, letterpress, monotype, solar plate, pigment inkjet print and transfer), painted (gouache, watercolor), and drawn (graphite, ink, color pencil, pen) collage; cut paper on cotton rag board
16" x 16"
"Everything was either very right or very wrong—with no middle way."
Carson McCullers in The Heart Is a Lonely Hunter
Super Sweet Sweet
2016
Cut and layered works on paper, including: ink, spit bite aquatint, laser cut linocut, color pencil, gouache, graphite, and pigment ink jet transfer on Hannemuhle Copperplate, Coventry Rag, Yupo, Mulberry, Arches Rag, Lanaquarelle, and Color Aid papers
Approx. 60" x 46"
Constructed at the Kimmel Harding Nelson Center for the Arts in Nebraska City