AVAILABLE SOON
“AT THE MOUTH OF THE SUN I BEGIN” by Ica Sadagat
Statement/Description
AT THE MOUTH OF THE SUN I BEGIN was born out of ritual communion. It started as weekly annotations recorded by a body noticing particular language from sparring, bruising, newfound survival, material recovery, native loss, classed labor, separation, and felt closeness while living in Lënapathòkink and Philadelphia. These writings—often made during or immediately following martial arts training or surfing or cooking or teaching or organizing—later materialized as an untitled poem for a global solidarity reading for Palestine in 2023. Now titled AT THE MOUTH OF THE SUN I BEGIN, the text continues as an ongoing score, chapbook, dispatch, and map toward urgent intimacies, memories, and return.
About the Artist/Author
Ica Sadagat attends to text as material and to material as a collective labor and practice. A trained community worker, perpetual editor, and former crisis counselor, Ica started Sadagat School of Motion & Text in 2022 to offer more sites for embodied learning, close listening, and guerrilla poetics. She has taught and performed in plenty spaces; some of her work can be found. Beyond all of this, Ica surfs and spars.
Details: 5 × 7 in. • Blue and black ink • Saddle-stitched risograph printed zine • Published by Matiz Press, 2026
It’s earth day! We’re re-releasing an updated version of “Decolonize This Yard,” a zine in the form of a seed packet with an insert zine inside.
Pre-Order Now! Expect shipping start early May!
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“Decolonize This Yard” by Miguel Limón
Statement/Description
A risograph-printed series of native wildflower and prairie seed packets designed as both functional gardening tools and objects of political imagination. Each packet is printed on kraft paper in single-color ink, with the full botanical species list wrapping the border. Choose from three native seed mixes — Midwest Wildflower Mix, Tallgrass Prairie Mix, or Pollinator Support Mix — each paired with a companion planting insert.
About the Artist
Miguel Limón (they/them) is a Chicago-based multidisciplinary artist, educator, and cultural worker. Their practice centers on Mexican-American labor history, environmental justice, and community memory on Chicago’s Southeast Side. They are Lead Artist for the Teen Creative Agency at the Museum of Contemporary Art Chicago and founder of Matiz Press, a risograph press and publishing platform rooted in print as civic infrastructure.
Details: Approx. 50 sq ft coverage per packet • Risograph printed on kraft paper • Includes planting insert • Pre-order • Published by Matiz Press, Chicago
“The Margins” by James Hosking (@jameshosking )
Statement/Description
“The Personals” is an ongoing collage series by James Hosking that is made from LGBTQ+ archival material from 1966–1981 and inspired by the text of contemporaneous found LGBTQ+ personal ads and their authors. The works explore how the times they lived in, and the media they consumed, shaped their psyches and hopes for connection in the pre-digital era. This publication features excerpts from an extension of “The Personals” series entitled “The Margins.” The pieces in this subset of work also reconfigure found material but use only text, spot illustrations, and shapes culled from personals, articles, publication titles, and ads.
The works in “The Margins” are imagined visual schemas exploring how LGBTQ+ media shaped individual subjectivity. The emphasis on text connects to the importance of language in framing one’s experiences and memories, particularly how important a shared original vocabulary has been to the construction of LGBTQ+ identity. The works are a form of interpretive documentary that grew out of an appreciation for these forgotten parts of LGBTQ+ print and design history.
About the Artist/Author
James Hosking is a queer visual artist whose work explores LGBTQ+ communities and archives. His photography and collage pieces have appeared in The New York Times, The Washington Post, The Atlantic, The Economist, and other publications. A former MacDowell Fellow in Visual Arts, he has also held residencies at Latitude and the Chicago Artists Coalition (CAC). He has had solo exhibitions at the University of Michigan, the Evanston Public Library, and Gerber/Hart Library and Archives, and has exhibited in group shows at the Cleve Carney Museum of Art, the Chicago Cultural Center, Yerba Buena Center for the Arts (YBCA), the Tenderloin Museum, and elsewhere. He has received grants from the Illinois Arts Council and the City of Chicago’s Department of Cultural Affairs and Special Events (DCASE).
Details: 5 × 7 in. • 24 pages • Blue and black ink on Sno Cone cover / Whip-Cream interior • Saddle-stitched risograph printed zine • Published by Matiz Press, 2026
Available Now
“Joy Is A Revolution” by Sasa Aakil (@sasa.aakil.ceramics )
Statement/Description
This chapbook “Joy Is A Revolution” is a collection of poems written in Sasa Aakil’s Vessel Alphabet font. This font is based on 26 ceramic vessel forms that Sasa uses to transcribe her original poetry in physical compositions. Each poem in this collection has been transcribed, in part or in full, into her Vessel Alphabet as physical compositions and now are written in her font. This chapbook is yet another avenue for readers to engage with Sasa’s unique and varied body of work. These poems are also part of Sasa’s first ever poetry EP, of the same name, releasing in May of 2026. This chapbook, EP, and each individual vessel composition examines the intersections between language and ceramics, words and clay, and asks questions about power, meaning, code, form, and understanding .
About the Artist/Author
Sasa Aakil is an interdisciplinary Artist, Writer living and working in the DC area. She is a ceramic artist, painter, poet, print maker, and bassist and served as the 2021 Montgomery County Youth Poet Laureate. Sasa has been featured in the Bethesda Magazine for her work as Youth Poet Laureate. She has also been featured in the Washington Post, as well as on WTOP for her work on the A Man Was Lynched Yesterday Project in 2020. She has shown sculptural and two-dimensional work at the American Poetry Museum and Black Rock Art Center. Sasa is the founder of If All the Trees Were Pens Open Mic and recently published her first chapbook, the culmination of all my despair and the music that saves me. She received a Bachelors of Fine Arts from Howard University in 2024. More information about Sasa’s work can be found on her website .
Details: 5 × 7 in. • 24 pages • Light teal and black ink on natural interior • Saddle-stitched risograph printed zine • Published by Matiz Press, 2026
Available Now
“All I Heard Were Stories” by Stephanie Gonzales (@Foofina666 )
Statement/Description
All I Heard Were Stories is assembled from personal family photographs, newspaper clippings, and photography. It examines ideas about generational trauma, resiliency, and self-acceptance.
We’d take long drives around the city, feeling nostalgia at every turn. They’d point with a lit cigarette at the old stomping grounds and tender memories would spark in their minds. Some I’d heard a million times but I’d listen like it was the first, hoping for new details or clues. I’ve heard stories of relatives as myths, legends, and monsters and I’d wonder which parts I inherited. As a little girl, my body was riddled with anxiety. Now I can see that it wasn’t all mine. Making this zine has given me a place to explore these painful junctures of my family lineage and possibly transmute our shame and secrets into something beautiful.
About the Artist/Author
Stephanie is an analog photographer and filmmaker from Las Vegas, Nevada. In 2024 she founded the Wallflower Zine Library, a photography only zine library, currently located at Gowanus Community Darkroom in Brooklyn, NY.
Details: 5 × 7 in. • 24 pages • Black ink, scarlet and black cover on white • Saddle-stitched risograph printed zine • Published by Matiz Press, 2026
We were approved for fiscal sponsorship through @fractured.atlas ! Even though we do programs and offer resources like a non-profit (nor do we really make a profit), filing for 501c3 is not the right fit for us (as a one-person show).
Now through Fractured Atlas, we’re able to accept partially tax-deductible donations and apply for grants usually designated only for tax-free institutions. We still have to pay taxes but this new structure will help make our offerings easier to fund!
“Hechos y Desechos” by KT Alexander (@thesearecollages )
➀ Description
The Hechos y Desechos Zine began as a poem, “El Salvador, a savior, a spectacle.” The zine was created after spending five weeks living in San Salvador, El Salvador, and experiencing life after the State of Exception was declared in 2019, a now permanent “state of emergency” created under the guise of mitigating a gang crisis that has resulted in a consolidation of power under Nayib Bukele. The project attempts to synthesize facts and situate the present moment within the longer history of United States involvement in Salvadoran politics. Through collage, poetry, and data, the zine reflects on how narratives of safety, order, and nationalism are constructed and circulated. Hechos y Desechos (facts and undoings) is both documentation and analysis, gathering the information, contradictions, and stories that shape contemporary understandings of El Salvador, ultimately asking: Who is Nayib Bukele making El Salvador safe for?
➁ About the Artist-Writer
KT is a queer Salvadoran-American artist based in Miami. Their multidisciplinary practice explores identity and histories of displacement through analog collage, photography, filmmaking, performance, and poetry. With an emphasis on historical memory and collective healing, they are interested in cultivating spaces of reflection and care for those living between languages, borders, and definitions. Their work has been featured in galleries across the United States, including Information Space (PA) and Superchief Gallery (FL) during Art Basel Miami. In 2025, they presented their first solo show, Más Tiempo Que Vida, at Museo de la Palabra y la Imagen in San Salvador, El Salvador. Their short film, Nixtamalizado, is an Official Selection and won Best Salvadoran Short Documentary at the 2025 Utopías y Memorias Festival. Their poetry has been featured at the Museum of Contemporary Art in North Miami.
➂ Details
5” × 7” / 12 pages / Risograph / Bright red + black / Pink cover
We are thrilled to announce the five selected artists for the Matiz Press Open Call for Publications 2026.
James Hosking (@jameshosking ) — Chicago, IL
Sasa Aakil (@sasa.aakil.ceramics ) — Washington, DC
Stephanie Gonzales (@Foofina666 ) — Brooklyn, NY
KT Alexander (@thesearecollages ) — Miami, FL
Ica Sadagat (@___i_ca ) — Atlanta, GA
Back in February, I was tapped by the @thebearfx production team to support the production of a wrap gift for the cast and crew. That included 400 custom playing card sets inspired by the show’s characters, taking form in a box of cigs! I’m so proud to have contributed to this project for one of my fave shows.
As a Chicago native, this city holds a deeply personal place in my life and work, and the show really captures that sentiment. With Season 5 wrapped, I can’t wait to share everything else we made once it drops!
52-card deck and tuck box designed by @_by_cuco , produced by @matizpress .
#TheBear #TheBearFX #Chicago
2 Weeks Left!
We’re excited to launch the inaugural open call for the Matiz Press Publishing Program (2026). This year we’re addressing gaps in our catalog, featuring Visual Poetry, Artist Publications, and Latinx Photography.
Selected publications will be produced as small-run editions, with all printing costs covered by Matiz Press.
Program details:
– Open to U.S.-based artists and writers (18+)
– Final size: 5 × 7 in
– Saddle stitch, 12–24 pages
– 1-color interior, 2-color cover
– Artists receive 60% of the printed edition
Applications close February 28, 2026.
Final files are due March 31, 2026.
Publications will be released May–June 2026.
Link in bio for full guidelines and application.
For @field.ofpractice we made 200 zines for their fifth anniversary.
That’s 3,600 sheets of paper, 180 staples, 5 hours printing, 8 hours folding, collating, stapling and sewing, and two hours trimming. For this, we printed fluorescent orange and black ink on my personal fave, Madero Beach by @frenchpaperco .
