Julie Filatoff – Focus on Book Arts

Meals at FOBA

You can download a .pdf of this page here. Please Note: Footnotes: 1 For those who have purchased the “All Meals” option2 For those who have purchased the “Lunch Only” options3 For those who have purchased the “Extra Day” reservations…

Art Exhibit Honoring Patty Grass

During the 2026 FOBA Conference we will honor the late Patty Grass with an exhibit of her work. Patty planted the roots of the Pacific Northwest book arts community. For almost four decades, she taught, shared, and created access to…

Open Studio Sessions

Have you ever wanted half of a day during the conference to work at your own pace, relax, and embellish your previous day’s workshop creations? Or wanted some low-stress time to get input from an instructor (or your peers) on a project you’re working on? Join this Half-Day Hosted Studio Session for just $55, and enjoy a dedicated space to work alongside other like-minded attendees at your leisure. Then, spend the other half of the day exploring Monmouth, taking the trolley to Independence to visit the shops and galleries, visiting one of the local wineries, or joining the non-hosted open studio session after lunch.

Erin Fletcher: Variations on Single-Signature Bindings

Books come in all shapes and sizes. Some may span only a single signature, while others become a thick tome. In this workshop, we’ll explore the former as we create a multitude of models with both soft and hard covers.

To help us punch all of the signatures for our models, students will begin this workshop by making a collapsible punching cradle out of binder’s board covered in Lokta paper. Then students will make a series of simple softcover pamphlets using a variety of sewing patterns before moving on to hardcover structures. All of these structures allow the book to lay flat and are perfect for artist’s books, chapbooks, presentation pamphlets, or short stories.

Raluca Iancu: Japanese Stab Binding

During this one-day workshop, students will learn how to create traditional Japanese stab-bound books from beginning to finish, using traditional Japanese materials. The instructor will bring materials from Japan for this workshop (paper and covers). We will cover up to four basic bindings: Yotsume Toji (Four-Hole Binding), Kikko Toji (Tortoise Shell), Asa-no-ha Toji (Hemp Leaf), and Koki Toji (Noble Binding).

Rosemary Rae: Collage Boot Camp

In this Collage Boot Camp we will dive into the hands-on creation of mixed-media collages, integrating text using a variety of ephemera, papers, acrylic paint, and other markmaking tools. Discover your artistic voice and learn about color theory and how to create strong compositions.

Judilee Fitzhugh: Contact-Print Portfolio

This workshop will begin by using the contact method (also called eco-printing or botanical printing) of transferring natural plant pigment material to paper appropriate for book binding. Students will prepare contact-printed papers dyes with real leaves to create a custom portfolio to hold precious papers.

Pietro Accardi: Fabric, Paper, and Metallics Marbling

During these three days, students will learn and practice all the basics of paper and fabric marbling. They will learn how to prepare metallic paint and create beautiful overmarbled paper/fabrics.

Pietro Accardi: Advanced Paper Marbling—More Patterns and Metallics

This workshop is designed to provide students with a space to explore more of the marbling universe. Further complex patterns will be demonstrated. This workshop is designed to provide students with a space to explore more of the marbling universe. Further complex patterns will be demonstrated. Students will learn how to make and use metallic paint. Students will execute some overmarbled paper, which are papers “printed” two times, creating complex visual patterns.

Pietro Accardi: Intro to Paper Marbling

In this introductory class, students will gain a basic understanding of the history, techniques, tools, and styles of Western marbling. We will talk about the color wheel and color theory to guide students’ creativity. Pietro will demonstrate how to execute the most classic patterns and how to create simple harmonic color combinations.

Rhiannon Alpers: Boxmaking Fundamentals

Boxes can be both elegant and deeply personal—beautiful containers for books, sculptures, or collections. But for many book artists, boxmaking can feel intimidating. This two-day workshop is designed to demystify the process and build confidence through hands-on practice with one of the most essential forms: the clamshell box.

Rhiannon Alpers: Miniature Specimen Enclosure

In this one-day beginner’s workshop, students will create a miniature hardcover book (3″ x 4½″ x ½″) designed to house a personal assemblage of natural curiosities. Using found objects, historic illustrations, altered book parts, and natural artifacts, participants will build a narrative through collage and layered materials.

Rhiannon Alpers: Layer by Layer—Stacked Boxes with Magnetic Closure

This two-day workshop is designed for intermediate boxmakers looking to deepen their skills and explore creative possibilities in structure and design. We will construct a multi-tiered interlocking tray system housed within a wrapped enclosure featuring a hidden magnetic closure, utilizing pre-cut components to streamline the build process.

Celeste Chalasani: Embroidery on Paper

Students will learn the basics of embroidering on paper as they work 10 embroidery stitches. Celeste will walk students through the stitches and share examples of how she has used them in her book art practice. At the end of class, students will assemble their embroidered pages to make their own “Little Book of Embroidery Stitches,” which can serve as a reference tool for years to come. Left-handed instructions available upon request.

Kit Davey: Pop-Up Tunnel Book

When the tab is lifted and the door is opened, the reader is treated to a multi-layered tunnel adorned with floating objects. Kit will guide students through making the tunnel frames, installing the floating images, and attaching the flattened tunnel to a backing page. Students will end up with an unusual, interactive, four-tunnel book, invented by Kit and shared with her students.

Kit Davey: Button Collection Book

In this workshop, participants will combine their favorite buttons with coordinating papers to make a colorful, one-of-a-kind, five-page book. We will use foam core for the pages and cut niches into them. We’ll then cover the pages with our favorite papers (which coordinate with the style and color of our buttons). Then we’ll stitch our buttons onto a backing and install them into the niches. To protect the stitching holes we’ll use metal eyelets. Kit will teach the slip knot stitch so students can bind their pages together. Students will end up with a five-page book of buttons, preserved and displayed in a fun and unusual way.

Kristen Doty: Watercolor Explorations

Explore watercolor techniques and experiment with different papers/surfaces that will spark creativity and improve watercolor skills. We will delve into color theory and color mixing using a double split primary palette, also learning how to avoid “mud.” Techniques will be added together for illustration and painterly or abstract effects. Students’ exercises will be bound together in a unique but simple no-sew book for future reference.

Robin Feinman: The Art 101 Teaching Album

This workshop will focus on constructing a concertina-bound book with pairs of pages meant to illustrate or demonstrate a basic art technique or concept. The workshop is designed for participants who want to teach a book arts project to their basic art class, who would like a teaching product to show basic art concepts, or to anybody new to or familiar with the concertina binding and the basics of visual arts.

Selene Fisher: Playful Patterns in a Leporello Portfolio

This class is all about creating colorful patterned paper (with a gel-printing plate) that can be used in other mixed-media projects. We’ll start off making a Leporello case to store smaller papers. This folder combines origami and bookbinding techniques to create a simple and effective structure. Then we will swing into color and pattern, using acrylic paint, gel plates, Play-Doh (seriously), foam stamps, stencils, different papers, and lots of textures! This is a chance to play with different methods of creating colorful papers for use in other projects. Students will leave with a collection of papers housed in their case, Play-Doh for future fun, and any stencils or stamps they create in class.

Selene Fisher: Whimsical Little Houses All in a Row

Are you charmed by the repeating shapes you see in lines of hillside houses? Are you intrigued by urban sketching? We’ll explore new neighborhoods by constructing our own little wonky row houses bound into a quirky accordion book.

Selene Fisher: Ekphrastic Postcards in a Blizzard (Book)

This class combines mixed-media collage, creative writing, an origami-inspired case, and a collaborative interchange with classmates.

Erin Fletcher: Envelope Binding

In this workshop, students will create three variations of the Envelope Binding structure. The first two will utilize handmade paper for the covers while showing solutions for binding a thin versus a thick text block. For the third model, students will explore Clara’s layering technique using dyed Tengucho and undyed Kozo tissues to create a more translucent and dynamic cover.

Brenda Gallagher: Wood-Burned Cover Flat-Back Case Binding

We will begin with discussing design and how to plan the space for the cover’s wood panel. Designs will be transferred to pieces of wood veneer in cherry, oak, or maple. Then we will move on to woodburning the veneer to create our cover images. Students will practice how to make designs with the heated tool and learn tips for working over wood grain and best techniques. Color can be added by painting the finished woodburned design with wood dyes. Students will receive several pieces of wood veneer to work on, choosing the best finished design to be the cover of the book.

Brenda Gallagher: Mini Pencil Sketchbook

Bind your very own miniature sketchbook with leather covers. This little gem holds your mini colored pencils and fits in your pocket!

Brenda Gallagher: Decorating with the Heat Foil Pen

Create beautiful designs for your books with the heat foil pen. Each student will receive a brand-new heated foil pen with multiple nibs that they can take home at the end of class. Brenda will provide a rainbow of foil options for students to use in class. Students will also be invited to cut a length of each color to take home for future projects.

Helen Hiebert: Paper Weaving Explorations with Reverse Piano Hinge Album

Come explore elegant weaving structures and beautiful papers that can be integrated into the stories of your life. Incorporate unique papers and imagery as you weave paper strips and shapes in a variety of ways. Cut windows into your weavings to reveal and illuminate between the layers. Learn to create a reverse piano hinge album to house a sampling of your weavings.

Helen Hiebert: Fundamentals of Paper Weaving

Learn the basics of paper weaving while creating a woven-paper notecard and a cylindrical lantern with a woven hinge. Learn what papers are best for weaving, how to use a paper loom, how to weave with or without a weaving tool, and how to cut windows in your weavings to reveal and illuminate between the layers. Students will incorporate unique papers and imagery as they weave paper strips and shapes in a variety of ways.

Helen Hiebert: Half-Day Hosted Studio Session

Raluca Iancu: Japanese Scroll Books

Students will learn the Japanese Urauchi technique, which enables them to back any cloth with paper for making the scroll book covers.

Genevieve Kaplan: Altered Pages and Blackout Poems—Working with Text

In this hands-on creative workshop, we will find our inspiration by excavating texts already written. Using pages torn from discarded books as our starting point, we will explore various physical and intellectual approaches to altering pages. From strike-through to pattern-making, black-out to collage, we’ll cover up, obscure, and reveal existing language to forge new ways of creating, experiencing, and reading. In this class, we will view and consider exciting examples of altered books and erasure poetry, getting inspiration from published works while we try our own hands at the techniques shown.

Genevieve Kaplan: Creative Writing for Book Artists

During this generative writing workshop, we will brainstorm ideas, experiment with language, and tap into students’ linguistic creativity. We will consider contemporary examples of short literary works (poetry and short prose), and examine these texts from a writer’s (rather than just a reader’s) point of view. We will pay special attention to elements of craft—what these authors do, and how they do it—and use our observations to guide us in making our own creative authorial choices.

Genevieve Kaplan: Altered Texts—Obscuring to Reveal

In this one-day workshop, perfect for all levels, students will follow a step-by-step process to create their own small book of engaging visual-literary erasure.

Roberta Lavadour: Handmade Books in the Classroom

Teaching artists draw on a skill set that is distinctly different from day-to-day studio work. In this fast-paced session, we will look at tips and tricks for choosing grade-appropriate projects, preparing materials, and working with large groups of students who bring different learning styles to the classroom.

Susan Lowdermilk: Tunnel Books—Perspective and the Author’s Voice

In this immersive workshop, participants will explore the sculptural and narrative potential of tunnel books: dimensional, layered book forms that create visual depth and storytelling through space. Each participant will create two books: a sample tunnel book to learn the mechanics of the structure, followed by a fully developed tunnel book incorporating photographic and/or photocopied imagery.

Abigail Merickel: Decorative Block Design

Learn about the seven simple design motifs found on all decorative arts in various world cultures. Students will use a pen and paper in a guided drawing exercise that will help them experiment freely with these motifs to create their own decorative design, which will be made into a block-print stamp.

Abigail Merickel: Solar Plate Etching and Monotype

Solar plate etching is a form of intaglio in which a photosensitive polymer plate is used. A drawing on trace film is placed on the plate, which is exposed to light and developed in water. Ink is rubbed into the etched lines and printed onto paper.

Casey Newman: Indigo Dyeing Fabric

In this workshop we will create and use an indigo dye vat, unlocking the mysteries of this blue pigment that has been used throughout the world for centuries. Students will learn the basics of Shibori dyeing, a Japanese technique of folding and binding fabric to create beautiful patterns with indigo dye. There are infinite ways to manipulate fabric to create unique designs.

Casey Newman: Indigo Dyeing Paper

In this workshop students will create and use an indigo dye vat to dye paper beautiful shades of blue. Students will learn how to create an indigo dye vat and see what depth of shade can be created through dip-dyeing paper. This technique can create both solid and layered/ombre designs. Students will learn ways to fold and bend paper to create different designs and will be able to try numerous techniques.

Casey Newman: Botanical Inks

Making one’s own natural ink not only yields beautiful and interesting colors with which to create, but provides a deep connection to the natural world. It’s also just really fun! In this workshop, students will learn to extract color from a variety of natural materials, many that are easy to find in the garden or even the kitchen. Students will learn which materials can be added to modify colors so they can create several colors from each dye source.

Rosemary Rae: Zhen Xian Bao Hardcover Sampler

Explore folding trays, collapsible boxes, a masu box, and small booklet assembly with this Zhen Xian Bao hardcover sampler project. This is a great way to mix and match papers and play with an adaptive and fun book structure.

Shawn Sheehy: Paper Engineering Boot Camp

In Paper Engineering Boot Camp, students will build a handful of foundational paper-engineering structures—some pop-ups, some movables—that will serve as physical warm-ups and creative building blocks. Following that, students will receive a series of problem-solving prompts that will help them apply their specific idea to the foundational structures. If a student doesn’t have a specific idea but would simply like to play with pop-ups, they will find the experience to be useful and engaging.

Shawn Sheehy: A Trio of No-Glue Structures

A bonefolder, a microspatula, and tweezers. Those three tools—and a little time—are all students will need to assemble this deceptively simple trio of no-glue, no-thread books. But despite their simplicity, these structures are elegant, flexible, and altogether ready for further play and experimentation.

Kris Stewart: Creating Longstitch Leather Journals

Students will learn to craft their own longstitch leather journals by hand. They will choose from a variety of precut leather from the instructor’s collection to create two beautiful longstitch journals, each highlighting different skills and techniques.

Jenn Woodward: Explorations in Hand Papermaking

Students will explore how to make pigmented paper pulp to create a full palette of colors, and how to use those wet fibers as a kind of paint. Students will learn the process for making both smooth and textured paper pulp, plus techniques for markmaking, creating shapes of color, building layered images, and retaining negative space within a composition. Students will create several wet pulp painting pieces that they will take away from the workshop to dry at home.

Roberta Lavadour: Winging it—Post-Consumer Freeform Journal

Sometimes a person just needs a book to toss into their bag to have available for notes. Sometimes they want to give someone a cool gift that isn’t too precious to actually use. This simple, sturdy structure fits the occasion and has a wide range of options for personalizing and stitching outside the lines. It’s a perfect vehicle for bringing together those fun bits of saved ephemera and for loosening up a bit between addressing more formal structures.

Roberta Lavadour: Link Stitch/Ethiopian Board Attachment

If a student is a fan of what’s commonly referred to as a Coptic binding, but doesn’t like the way covers tend to drift, this type of board attachment is a game changer. Historically used for wooden boards, the technique will be adapted to readily available binder board; then we will experiment with different design options. The finished book is both beautiful and structurally sound.

Welcome Reception

The Welcome Reception is held on Tuesday night before workshops begin on Wednesday morning. It is a time to hear more about the events and activities that will take place during the conference. More importantly, it is a chance to get to know some of your fellow conference attendees. Meet new people, catch up with previous conference attendees, and welcome first-time attendees.

Trade Show

Come browse from the professionals! This year we’re curating a Trade Show that highlights specialty, handmade, and niche vendors to complement our On-Site Supplier, who will be offering basic book arts materials. The Trade Show, which runs Wednesday through Saturday, will be located in the same building as many of the workshops. You’ll be able to discover treasures you didn’t know you needed, find that elusive tool you’ve been looking for, or supplement your stash with something special.

Photo Booth

Artist books can be difficult to photograph, especially when they involve many pages or moving parts. To help with this tricky task, we will be offering a photo booth set up for participants to document their artwork, along with handouts containing detailed instructions on the best ways to photograph your artwork and artist books in particular.

On-Site Supplies

John Neal Books of Nashville, Tennessee, will provide supplies for preorder and for sale on-site during the conference.

FOBA Merchandise

Show your support for FOBA! For the 2026 conference we have T-shirts and aprons for sale at Blue Fox Prints.

Peer Show & Share

Here’s an opportunity to show your work to a small group: bring a piece of artwork that you want to share with your peers—and what better group of peers than your fellow participants at a book arts conference?

Keynote Speaker

The Focus on Book Arts Conference is delighted to welcome renowned artist, curator, and educator Jennie Hinchcliff as the keynote speaker for its 2026 conference.

Fundraising Raffle and Silent Auction

FOBA will hold a Raffle and Silent Auction at the 2026 conference. Proceeds will support the Colleen Cavin Fellowship and Internship program as well as support the running of FOBA’s biennial conference. Raffle tickets will be available from volunteer sellers every day of the conference. You can participate in the Raffle and Silent Auction by donating items before the conference and/or bidding on them during the in-person conference.

Conference Showcase & Social

Join us for the Conference Showcase & Social, the final evening of FOBA 2026! This lively closing-night gathering is your chance to share what you have created in workshops, connect with fellow attendees, and spark future book art collaborations. Explore the final night of the Raffle and browse the Silent Auction. Final bids will be accepted until 8 pm.

Flash Exhibit

We will be holding a flash exhibit on Saturday evening during the Conference Showcase & Social. Be sure to bring what you’ve created during the conference to share, fill out your entry form, and you’ll immediately be entered into a drawing for one of the evening’s prizes!

First Timers Club

New to FOBA? You’re not alone! Join the First Timers Club and you can learn what to expect at the conference, make new friends, and get your questions answered.

Faculty/Staff Exhibit

The Faculty-Staff Exhibit is a great chance to see some works of art by your FOBA Conference workshop instructors and conference staff. It will be located on the first floor of the Richard Woodcock Education Center, just follow the signs once you enter the lobby. This exhibit will also be open to the public during the course of the conference.

Challenge Book—re:book

You are invited to explore the theme of “re:book” in book form for this year’s Challenge Book exhibit. Challenge Books will be displayed anonymously and artists revealed at the Conference Showcase & Social. Conference participants will judge the entries and, in addition to the approbation of your peers, you could win a prize!

Faculty/Staff Exhibit: Open Book Event

How many times have you gone to a book arts exhibit and wondered, “What’s on the next page?” or “Why did the creator decide to do that?”? Come to the Book-Mingle and satisfy your curiosity. Instructors and staff will be on hand to turn the pages (or let you do it yourself) and answer your questions during this informal gathering at the faculty/staff exhibit.

Artists’ Fair

The Artists’ Fair will be open on Thursday and Friday evenings, and it is an opportunity for book artists to personally sell their fine crafts.

Sirlei Caetano – Dreams

Artist: Sirlei Caetano Title: Dreams Techniques & Materials: Monotipia, bordado, costura de bulas sobre tecido. Monotype, embroidery, stitching of medicine leaflet on tissue. Artist Statement: Nascida em Santa Cruz do Sul, RS, Brasil. Participa de Exposições nacionais e internacionais de…

Mary Kritz – Dreams Of World Travel

Artist: Mary Kritz Title: Dreams Of World Travel Techniques & Materials: I created this book using Fabriano hot press and cold press water colour papers. I coloured eight 4 x 6 inch hot press paper panels with water colours. Thinking…

Marjon MUDDE – It is better to give

Artist: Marjon MUDDE Title: It is better to give Techniques & Materials: Techniques: paper cut outs, letterpress on monotypes done by children 30 years ago during one of my workshops. Materials: Rives etching paper, Ingres d’Arches, cotton fabric, string, magnet.…

Mara Caruso – Of Heavenly Things

Artist: Mara Caruso Title: Of Heavenly Things Techniques & Materials: Drawing, painting, cutting and collage. Canson paper. Artist Statement: Colored pencil, black pen, brush, drawing on tissue paper and collage. Born in Erechim, RS, Brazil, she resides in Porto Alegre.…

Maria do Carmo Toniolo Kuhn – My dreams

Artist: Maria do Carmo Toniolo Kuhn Title: My dreams Techniques & Materials: colagem sobre tecido, costuras coloridas e escritos. Artist Statement: Nascida em Bento Gonçalves, RS, Brasil..Formada em História Natural, dedica-se ás artes visuais desde 2000, participando de exposições de…

Magdéleine Ferru -Bleu comme le chat, l’oiseau et plus encore (Blue like the cat, the bird and even more)

Artist: Magdéleine Ferru Title: Bleu comme le chat, l’oiseau et plus encore (Blue like the cat, the bird and even more) Techniques & Materials: Wool covered flat rock, with little cardboard book on the front of the rock; cyanotype base…

Luiza G P Gutierrez- Dreams, softs and sweets

Artist: Luiza G P Gutierrez Title: Dreams, softs and sweets Techniques & Materials: Desenho, recorte e dobradura. Artist Statement: Nascida em Cruz Alta, RS, Brasil. Formada em Artes Visuais, no Instituto de Artes da UFRGS. Dedica-se ao Livro de Artista…

Leigh Blom – 3 AM

Artist: Leigh Blom Title: 3 AM Techniques & Materials: This book is an accordion book with pop up features using scrap book paper to create the images within. The four pages of the book allow the book to either be…

Laurel Rogers – Fleeting Transparent Images from the Night

Artist: Laurel Rogers Title: Fleeting Transparent Images from the Night Techniques & Materials: The technique started with making wood block rubbings and then coating the paper with beeswax. This created a transparency with each image. Each image was placed in…

Kristi Galbraith – Montana Dreamin’

Artist: Kristi Galbraith Title: Montana Dreamin’ Techniques & Materials: Photo Art, Marbled paper, paper weaving, triaxial weaving, wooden covers with Dremel lettering, leather straps, long stitch binding over leather straps, thread woven into some page, beads and charms added to…

Kazumi Seki – bittersweet

Artist: Kazumi Seki Title: bittersweet Techniques & Materials: This is a Coptic accordion book. Hand drawing images with matcha are applied on hand made cotton paper. Matcha is one of my favorite teas which has bittersweet taste and scents. Bitterness…

Jussara Leite Kronbauer- FENIX, NOTRE DAME

Artist: Jussara Leite Kronbauer Title: FENIX, NOTRE DAME Techniques & Materials: Papel canson, vegetal, pintura, desenho e dobradura Artist Statement: Nascida em Porto Alegre, RS, Brasil. Formada em arquitetura. Dedica-se às artes visuais desde 2004, participando de exposições nacionais e…

Jane S Balconi – Livre para voar

Artist: Jane S Balconi Title: Livre para voar – Free to fly Techniques & Materials: canson paper 300gr, drawing of birds clipped and glued. Artist Statement: Nascida em Caxias do Sul, RS, Brasil. Dedica-se às Artes Visuais desde os anos…

Insiya Dhatt – Dreams

Artist: Insiya Dhatt Title: Dreams Techniques & Materials: All the materials to build the mobile are enclosed in a box shaped like a book adding an element of anticipation and storytelling to the experience. One gets to weave their own…

Erminia Marasca Soccol – (Navigate)

Artist: Erminia Marasca Soccol Title: Navegar (Navigate) Techniques & Materials: carimbo, dobradura sobre tecido.Ruber stamp, folding upon tissue Artist Statement: Nascida em Garibaldi, RS, Brasil. Dedica-se às artes visuais desde o ano 1998. Participa de exposições nacionais e internacionais de…

Angela Batchelor – Joseph: Dreamer and Interpreter of Dreams

Artist: Angela Batchelor Title: Joseph: Dreamer and Interpreter of Dreams Techniques & Materials: Watercolor, pen, ink, wax, acrylic, Mod Podge Artist Statement: Dreams are one of the ways that God chooses to reveal himself throughout the Old and New Testaments.…

Angela Batchelor – Jacob’s Dream & God’s Promise

Artist: Angela Batchelor Title: Jacob’s Dream & God’s Promise Techniques & Materials: paper, hand decorated paper collage, ink, mod podge, book cloth, leather, magnet, vellum Artist Statement: Jacob is a pivotal figure in the Old Testament, being the son of…

Amy Siedenstrang – Perchance

Artist: Amy Siedenstrang Title: Perchance Techniques & Materials: I gutted an old clock and coiled lights inside, creating the night sky by embellishing velvet paper with ink and punching holes for the constellations. Various papers and fabric complete the other…

Adrienne Momi- Dreaming I was the sea

Artist: Adrienne Momi Title: Dreaming I was the sea Techniques & Materials: Letterpress, gilded relief printing, inkjet prints of original art with haiku. Artist Statement: When I look at the sea, I feel swept into its gente caressing arms. I…

Susan Lowdermilk – I Think that the Root of the Wind is Water

Artist Statement I think that the Root of the Wind is Water speaks to the inherent interconnection of environmental elements. Today, as our planet experiences increasing climate instability, Dickinson’s message is a relevant reminder to honor and protect our environment.…

Shawn Sheehy – A Meeting of Mutualists

Artist Statement Typically, paper-engineered structures are built into books that require total collapse. In A Meeting of Mutualists the structures are built into shallow boxes that DON’T require total collapse and therefore allow for novel exploration of engineering parameters. The…

Roberta Lavadour – Spirit Guide

Artist Statement I’ve been thinking a lot about appropriation, and how materials, techniques, and imagery hold cultural weight. I’m fascinated by the New Age to white supremacy pipeline, and how casual appropriation can push our boundaries. Tapping into my own…

Rhiannon Skye Tafoya -Ul’nigid’

Artist Statement: Ul’nigid’ is a poetic narrative and visual representation of memories about my maternal Grandmother; she was a medicine-woman, a basket-weaver, and a fluent speaker of the Cherokee language. Ul’nigid’ was uniquely designed to represent her being, and each…

Rhiannon Alpers – Vanishing

Artist Statement The imagery in Vanishing revolves around insects currently considered threatened or endangered. They are part of the insect apocalypse. Threats to their survival include habitat loss and fragmentation, invasion of non-native species, pesticide application, and global warming.The poems…

R D Burton – Company Housing

Artist Statement My artist books portray the reality of change rather than a romanticized idea of the past, and display the economic, technological, and social changes that reshape urban and rural landscapes. Many of my books portray the world of…

Peter and Donna Thomas – Free Little Bird

Artist Statement One reading the text could interpret it to be the mocking cry of a child saying “Catch me if you can.” But in another reading one could find undertones social justice concerns. We used the colophon to provide…

Naomi Velasquez – We Never Must Quit

Artist Statement We Never Must Quit is a letterpress print in an edition of 14 created with handmade paper and ink. This print was created for 2022, the 50th anniversary of Title IX in honor of Patsy Takemoto Mink and…

Mary-Ellen Campbell – Rust 2

Artist Statement Rust as a metaphor for aging. Book text:Coarse, pitted spikes, cables,chains welded, water-logged,changing, deteriorating, weakenedpulled from the sea barnacle-bound.Iron-red burnt sienna patina,intricate textures exposed,torn joints, corroded bones,oxidized, ossified, brittle break,out of practice forgotten stepsthe stage no longer welcomes.…

Marjon Mudde – Le chemin de la petite vicinalité (Country roads)

Artist Statement During an artist residency in the French Alps, invited by the Public library of the Département des Hautes-Alpes in 2013, I spend three months studying landscape, costume, architecture, animals, plants, history of the region. I did many sketches…