It is the last few days of Folded Group curated by Bill Nace and Kim Gordon. March 19–May 17, 2026, Amant, Brooklyn, NY. Being in the company of other artists who also create both visual work and music, (including dear friends) has been a fortunate context to sit in during the run of this exhibition. Usually we are on a bill for one night, in conversation for the more fleeting experiance of music and performace.
The artwork that was included is about dissonance, two completing but nearly identical images vibrating on the same plane, itself folding into a misbehaving surface. The images are broken loops, cascading like ribbons in the air; no longer holding anything together.
1. Battle (for Pastures) (side view)aquatint etching in artist’s frame 29 1/2 x 26 x 1.5”, 2024 photo: Neighboring States. @neighboring_states_photo
2. Installation view of Folded Group, curated by Bill Nace and Kim Gordon. March 19–May 17, 2026, Amant, Brooklyn, NY. Photos: New Document @amant.arts
3. Battle (for Pastures) aquatint etching in artist’s frame 29 1/2 x 26 x 1.5”, 2024 photo: Neighboring States. @neighboring_states_photo
Delighted to be included in @pressingmattersmag for issue 34 along with so many fantastic printmakers. John Coe is treasure. The print featured here is available @etcetcbooks , the interview mentions upcoming projects and current ones @amant.arts and @blahblahgallery 💚 🧡
@etcetcbooks (@blahblahgallery ‘s neighboring store) is hosting some of my artwork among their excellent curation of printed matter, books, magazines, and artist prints. My sculptures often use formal principles of book structure as well as elements of book construction, so this feels good on a few levels. Not featured here is my A2 size two color color riso poster, available in the shop. I took some install shots of using my 20 year old point and shoot digital camera. Mark for scale.
Wicks, monotype on silk and wood, 17 x 33 x 16”
Flickers, monotype on silk and wood, 22 x 33 x 16”
These sculptures operate mostly as a pair, leaning in and away from their respective smoke/flames. I finished these almost a year ago and they have been in my studio like the screens they reference, dividing the space, each other, and the ability to see all of the pieces at the same time.
Part blinders part wings, the fold keeps reappearing in my attention.
Blinkers
John H. Baker Gallery
West Chester University
E.O. Bull Center for the Arts
2 E Rosedale Ave, West Chester, PA 19383
October 22 – December 12th 2025
The exhibition Blinkers brings together eight artists whose practices center on
transformation and change. Through diverse media and formal experimentation, their
works highlight time, process, and the layered complexity of perception. In this exhibition,
process becomes presence, material carries metaphor, and identity emerges through both
the visible and hidden textures of making.
Like turning on a blinking turn signal, the artists in this show alert us to a heightened sense
of looking. On the foreground of these works, we encounter relationships of shape and
color, which evolve into complex relationships of grounded personal symbols, imaginative
forms, and material maneuvers.
This exhibition has been co-organized by Kris Benedict and Lauren Pakradooni. Works will
be on view from October 22nd until December 11th, 2025, in the John H Baker Gallery
located within the Department of Art + Design at West Chester University. The gallery is
open to the public from 8 am until 4 pm Monday-Friday at E.O. Bull Center for the Arts 2 E
Rosedale Ave, West Chester, PA 19383. The building is ramp accessible. The opening
reception will begin with an Artist’s talk at 4pm and conclude at 6pm on Wednesday,
October 22nd.
Please reach out to [email protected] or [email protected] for a
curatorial tour.
Cat Balco @catbalco
Natalie Beall @natalie_beall
Brian Michael Dunn @beedunny
Franklin Evans @franklinevansart
Anthony Iacono
Alex Jackson @alexjacksonartist
carrie R @carrie______r
Libby Rosa @libbyrosa Also shoutout to Erin Butler, Olivia Cooks and Grace Harker for their help in screen printing the poster!!!
Cutting in Somewhere (Parting Walls)
Aquatint Etching with chine colle using handmade recylced paper from discarded printing proofs.
16 1/2 x 19” Edition of 5, 2025
This print depicts two intertwined systems, one structural, the other vascular, referencing the inner workings of both leaves and bodies. At the time, I was thinking about the decorative complexity of Dürer’s knots and how they reveal an artist actively working through a design problem, making that exploration the primary purpose of the work. Similarly, my print forms a closed system, or loop, not only in its imagery but also in its material: it is printed on handmade paper I created by recycling discarded printing proofs.
This print is currently on view in “The Frequency” a works on paper exhibition curated by @hen_pen_@marginaleditions At Brood Works, @broodworks 100 N 3rd St, Brooklyn, NY From October 3- Ocotber 10. -AND-it’s available at etc. etc. in Philadelphia, PA in flat file ;) @etcetcbooks . .
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#pressingmattersinsert34
Engulfed Underpinning
Monotype on silk, cast cement, wire, and paperpulp from discarded printing proofs.
54 1/2 x 19 1/2 x 12 3/4”
I’m exhibiting this sculpture/print in the Faculty Show at West Chester University up now until October 10th. The piece developed over a long stretch of time in my studio, using a wide range of processes, inlucding papermaking, intaglio monotype printing, metal sculpting, and cement casting. I wanted to include a work to share with my students the multidisciplinary nature of being an artist.
I am refering to flames and fires. It began with the loosely rendered, almost awkward flames in Piranesi’s iterative fireplace designs. His flames felt more like the idea of fire than actual fire. HIs flares stand as abstract and suggestive, in contrast to the highly articulated architecture surrounding them. That tension resonated with me.
There are fires, both literal and metaphorical, that I’ve been grappling with—some personal, and others more urgently present in the world at large. This piece brings those elements together through repetition, sequence, and variation, layered across two sculptural planes that invite interference, dialogue, and complexity.
SOUND HOUSE: BLANKFOR.MS, TETHER, MATTHEW RYALS & SOHME
Friday, September 12, 2025 | 7:00pm
Calvary Parsonage
(815 South 48th Street, Philadelphia PA 19143)
$10-20 sliding scale accessibility: the performances will be taking place in multiple rooms requiring the climbing of stairs.
Sound House is a collaboration with The Low Pass, phlAIR & Fire Museum Presents.
Take a sonic tour with us through the historic Calvary Parsonage with performances from the following.
BlankFor.ms:
Tyler Gilmore, known as BlankFor.ms, makes music with degraded tapes, analog synthesizers, and a spinet piano. His work includes two full-length albums, two EPs, and Refract, a collaborative project with Jason Moran and Marcus Gilmore. His scoring contributions include Academy Award Best Picture nominated film Nickel Boys.
Tether:
Philadelphia-based sound and visual artist Lauren Pakradooni has made hypnotic music with cassette loops and voice for over a decade, using the monikers Pak and Tether since 2006. Song forms and soundscapes are composed through the layering of handmade/recorded cassette tape loops and various electronics.
Matthew Ryals:
Matthew Ryals (he/him) is a NYC-based synthesist and composer-improviser. Described as “a sonic explorer on the frontier of experimental music” (Plastic Mag), Matthew has been praised for treating sounds “as if they were alive, breathing” to create something “truly immersive and unforgettable” (Beats Per Minute). Matthew has released three studio albums and a series of EPs on 3OP, SØVN, and dingn\dents, and will release a solo record on Infrequent Seams in Fall 2025 and a collaborative album with Jacob Sachs-Mishalanie on Oxtail Recordings in 2026.
sohme:
sohme production is the sound-based practice of musician, producer and architectural designer Saumon Oboudiyat. Based in Philadelphia, PA - sohme’s music and sound-design work is informed by nearly a decade of work as an architectural designer and a lifetime of musicianship - integrating analog & digital synthesis, acoustic instrument performance, and field recording - into experimental, textured, cinematic, and immersive compositions.
Sweeten Maneuvers, Monotype (oil on paper), 8 x 10”, 2025
This artwork will be a part of Feia Gallery’s upcoming exhibition, DEMOLITION DERBY in which works will be demolished (if not sold). As an offering, it is meant to support the collective act of imagining and building that is necessary for art to serve both community and artists. The piece will be available for sale until the end of the event 9/13. I met Feia Gallery as a neighbor at Future Fair this past spring, and neighbors help neighbors. I won’t be in LA but please go support! @feia.studio
This work was created through intaglio printmaking, using multiple passes of inked plates through the press to build the image. Because the print is developed upside down, backwards, and often obscured in process, the act of making mirrors the hidden mechanics I have been studying in insect wings—structures that fold and disappear beneath the body, only to unfurl in an instant. These delicate, intricate systems of compression and release are a striking peculiarity of nature.
I am drawn to the crumpled, difficult-to-refold forms of wings once opened, reminiscent of a misfolded map: awkward yet still functional. My interest extends to the parallels between book structures and wings—both as vehicles of movement, one for text and the other for bodies in flight.
The image itself was developed from observed shadows and folds in paper, which I used to replicate the structure of a particular insect wing. From that study, I created the final monotype drawing. The composition divides between an orange ground and the white of the paper, with layers of green ink resting across the surface. This split of color and transparency evokes sequence, motion, and the shifting translucency characteristic of insect wings. #monotype #monoprint
Thine Spelling (With books upon the shelf) Stretched monotype print on shaped wood panel
15 x 13 ½ x 4 ½”, 2025.
I was a part of Meet Me in the Woods, an exhibition during Upstate Art Weekend, curated by Good Naked Gallery. It was such a good feeling to be alongside all of the artists that took part, with shared meals, helping with installation, some swimming, and celebrating with new and old friends human and some dogs. All this thanks to the vision and curation of @good_naked@jaquelinecedar@graysoncoxstudio@theclearingcragsmoor
This work is part of a series of monotypes created using a tom drum, which I cut into three segments. I stretched paper across the curved outer surface of the drum, using its physical form as both structure and concept. I’ve been thinking about how we measure time, and working with an actual instrument of rhythm felt especially fitting. The curved surface helped shape the dimensional quality I was looking for within the constraints of a two-dimensional print.
The resulting image feels swollen, suggesting both growth and decay. It’s part of a sequence centered around a body- or hourglass-like form, which both contains and is surrounded by shifting color.. Although ultimately flattened into a single plane, the image appears to push outward, protruding from the wall (hugging a tree) and extending toward the viewer. It welcomes a blurry boundary between surface and space, presence and gesture.
Like many printmakers before me, I use gradients to imply depth within the inherently flat medium of print. These gradients draw a direct connection to the transitions found in nature, sunrises and sunsets, the changing colors of leaves, and the subtle shifts in tone and pattern used for camouflage or disguise. These natural transitions have long influenced my work. In this piece, I’m particularly focused on the fragile balance they represent—the ongoing cycle of beginning and ending, of emergence and dissolution.
First Photo Credit - Brad Devins @owley.studio
Process photos / Drum lessons #monotype #monoprint #printmaking
Every turn of the wheel is a touch, Monotype prints on silk with wood, 75 x 16 x 16” , 2023 First 📸 by @neighboring_states_photo
On view in an exhibition from June 8th-September 14th at the State Museum of Pennsylvania in Harrisburg, PA
This sculpture is about time via rotation and repetition of images. The intaglio printed images on silk exist in multiple places at once, seen through one another. The sequence of four panels inverts and folds into itself when walking around the sculpture. As demonstrated by a younger PJ during my exhibition @fleisherart through the @dinawindartfoundation
Rotation— I think of this too when I watch the spinning wheel on my computer screen— It moves in circles, lagging behind, like a vine searching for a stronger source of light—a gesture both mechanical and organic, frustrating and familiar.
Lately, I’ve been reading about Maria Sibylla Merian, whose travels—often with her daughter at her side—blurred the boundaries between science, art, and daily life. I’m drawn to the intimacy of her work: the way she studied silkworms and transformed their life cycles into etchings that would travel the world. At first glance, the silkworm’s spinning of a cocoon seems like an isolated act, a solitary enclosure. But looked at collectively—dozens of creatures transforming in tandem— A quiet, synchronized unfolding.
What we often perceive as isolation may in fact be a deeply communal act, one pulsing with shared intention and invisible threads of connection. #intaglio #monotype #monoprint #printsculpture
METERS ALONG
2025, aquatint etching in artist’s frame, 12x26½x2½”
more info at @blahblahgallery
I am sharing some process images from this work, including videos, one in which I hit record after the print was made like a tech wizard– which captures the strange moment in which a printmaker finally gets to see the thing they have made.
At its core, this work is about the experience of holding multiple truths at once—of feeling and thinking through two or more realities simultaneously. It’s about the embodied complexity of living one’s personal joys and frustrations while also being acutely aware of the broader, often overwhelming spectrum of joy and suffering that exists across the living planet.
Printmaking, with its long-standing relationship to both the decorative arts and scientific illustration, serves as a fitting medium for this exploration. Though their purposes diverge—one aiming to ornament, the other to analyze—both disciplines seek to reveal something essential about the intricate beauty of the world. In my work, repeating forms become lenses: each one a glimpse into cycles of growth and transformation. Using intaglio techniques like etching and aquatint, I create prints that are then folded into sculptural shapes. Their forms grow exponentially, their shifting heights intended to reflect subtle, accumulating changes—a visual rhythm that echoes the elusive nature of time.
Time, for me, has become unstable—fluid, nonlinear, and constantly renegotiated. Since the birth of my child three years ago, I find myself moving between overlapping timelines, each with its own tempo, energy, and demands. I live in multiple modes at once: one deeply internal and domestic, the other outward-facing and attuned to global rhythms. Life unfolds now in layers—interwoven and often at odds—requiring continual calibration.
#aquatint #etching #intaglio #mapcunboundshow
