2000 - ongoing
Artists Books & Printed Matter
I have been making artists books individually and collaboratively, as The Printmakers Left and The Rhinoceros Project, since studying printmaking with Dean Dass at the University of Virginia in the early 1990’s.
Often the books are one of a kind and their construction is approached as if I were making a painting, the narrative comes through the process of arranging and rearranging the pages, the book speaking its way into being.
Scroll below or click on the pictures to the left to see more of each book.
Often the books are one of a kind and their construction is approached as if I were making a painting, the narrative comes through the process of arranging and rearranging the pages, the book speaking its way into being.
Scroll below or click on the pictures to the left to see more of each book.
2019-2022
Remineralization
Case-bound, screenprint, linoleum block prints, inks, clays, pigments, archival inkjet, and typewritten text on various papers including handmade cannabis paper, 7 x 4.625 inches, 96 pages - many foldouts, Edition of 9, current price $1200
From the big bang to earth’s dissolution in the near distant future, this is one story of mineral life, geological evolution and recombinant redistribution, and how we hold rocks in our hands and in our bones.
Remineralization and corollary work unfold a visual folktale from the first breaths of the universe, or the big bang’s original mineralization, through mining and industrial relations with earth’s geology, to landfill aggregates, remineralizations, and future gems. The materials used in their making are also characters in their tale, including copper ink, metallic thread, and metallic and mica pigments.
Table of Contents:
i. Mineralization
ii. Record of the Rocks
iii. There’s Gold in Them Thar Hills
iv. The Prospector & the Landlooker
v. Simple Machines at First
vi. Mineral Resources
vii Mineral Light
viii Landfill Aggregates & the Unfactory
ix ReMineralization
From the big bang to earth’s dissolution in the near distant future, this is one story of mineral life, geological evolution and recombinant redistribution, and how we hold rocks in our hands and in our bones.
Remineralization and corollary work unfold a visual folktale from the first breaths of the universe, or the big bang’s original mineralization, through mining and industrial relations with earth’s geology, to landfill aggregates, remineralizations, and future gems. The materials used in their making are also characters in their tale, including copper ink, metallic thread, and metallic and mica pigments.
Table of Contents:
i. Mineralization
ii. Record of the Rocks
iii. There’s Gold in Them Thar Hills
iv. The Prospector & the Landlooker
v. Simple Machines at First
vi. Mineral Resources
vii Mineral Light
viii Landfill Aggregates & the Unfactory
ix ReMineralization
2024
The forest lost its sap
The forest lost its sap is a collaborative book with Michelle Wilson as part of The Rhinoceros Project. It arose from a visit to the Sirente Crater during an artist residency in Abruzzo, Italy in the summer of 2021. The text is excerpted from an Abruzzese folk tale of a new star falling to earth which created the Sirente Crater, as well as the Roman Emperor Constantine's account of his vision before the Battle of the Milvian Bridge. According to speculation, the Sirente meteor impact was the astrological event that Constantine witnessed as a sign from above, signaling the decline of paganism and the rise of Christianity.
Suminagashi, pochoir, and pressure printing form the imagery, along side handset metal type in Piranesi and Empire typefaces. The interior pages are made of fibers from "Broussonetia papyrifera, the cover from Cortaderia jubata, and its enclosure from Gossypium heraceum. All papers were handmade by the artists.
Production took place at Xenoform Labs in San Francisco, Kala Art Institute in Berkeley, as well as at our respective studios.
Softcover in a handmade crater paper enclosure, 4 x 6.25”, 16 pages, Edition of 40.
Suminagashi, pochoir, and pressure printing form the imagery, along side handset metal type in Piranesi and Empire typefaces. The interior pages are made of fibers from "Broussonetia papyrifera, the cover from Cortaderia jubata, and its enclosure from Gossypium heraceum. All papers were handmade by the artists.
Production took place at Xenoform Labs in San Francisco, Kala Art Institute in Berkeley, as well as at our respective studios.
Softcover in a handmade crater paper enclosure, 4 x 6.25”, 16 pages, Edition of 40.
2003-2024
Void
Original drawings and paintings atop outtakes, trials, and misprints from one folio from The Circular Ruins, a 2001 collaborative publication of The Printmakers Left. This book was created while watching shock & awe unfold on the television screen at the beginning of the invasion of Iraq in 2003. It was revisited, renewed and re-covered in winter 2023-2024 as events in the middle east serve as a reminder that while so much has changed, so much has also stayed the same.
Unique handsewn casebound open spine volume with watercolor, gouache, cyanotype and inkjet prints, color pencil, & graphite, wrapped in mulberry paper-backed linen with cyanotype and pisolithus natural ink stain. typewritten title page, 10.25 x 8.5 inches closed, 42 pages.
In the collection of
The Watkinson Library at Trinity College
Unique handsewn casebound open spine volume with watercolor, gouache, cyanotype and inkjet prints, color pencil, & graphite, wrapped in mulberry paper-backed linen with cyanotype and pisolithus natural ink stain. typewritten title page, 10.25 x 8.5 inches closed, 42 pages.
In the collection of
The Watkinson Library at Trinity College
2005-2023
Bird v Plane v Bird
Screen print & pochoir on toner printed pages, butterfly stitch binding, Environment cardstock cover and sleeve enclosure with typewritten, collaged title, 7.5 x 5 x 1/2 inches closed, 38 pages, Edition of 14.
Current price: $400
Bird v Plane v Bird combines an examination of the curious intersection of animal & military nomenclature with a playful and visceral response to a 2005 New York Times article entitled “Clearing the Runway, Nature’s Way,” by Tina Kelley. The article tells the story of a small airport in New Jersey using falconry to clear the airspace of “nuisance birds” and “public enemy # 1”: the Canada Goose.
The book is based on a series of drawings that I made in the wake of the article in 2025, which I later scanned, printed and worked atop for the publication.
Current price: $400
Bird v Plane v Bird combines an examination of the curious intersection of animal & military nomenclature with a playful and visceral response to a 2005 New York Times article entitled “Clearing the Runway, Nature’s Way,” by Tina Kelley. The article tells the story of a small airport in New Jersey using falconry to clear the airspace of “nuisance birds” and “public enemy # 1”: the Canada Goose.
The book is based on a series of drawings that I made in the wake of the article in 2025, which I later scanned, printed and worked atop for the publication.