An Interview with Elizabeth Amber Rudnick
"There’s a huge gap between the experiences we feel compelled to record and the experiences that stay with us regardless of documentation."
An Interview with Kelly Blevins
"Without change, there is no real progression in the arts, resulting in no real progression of the mind."
An interview with Matthew DiClemente
“Once the numbers get large enough the data can say anything.”
An Interview with Marcy Miranda Janes
"I have seen people discount the medium as “lacy,” or doily-like, not noticing that the lace is comprised of AK-47s and drones. Kind of like swearing in a lovely tone of voice."
An Interview with Sam Pash
"Sometimes it's a challenge not to be too precious about your own ideas. Working with editors and art directors makes the process more of a group effort—you’re working towards a harmonious whole."
An Interview with Kristen Radtke
"I think it's a rather exciting time to be working in multiple forms. Knowing you may not be taken seriously can offer a certain kind of freedom."
An interview with Stephen Knezovich
"My primary source materials are vintage books and magazines—deemed no longer useful or relevant— and rescued from thrift stores and attics and antique shops. Maybe what I’m really trying to do is give these publications a second life."
An interview with Camille Serisier
"I guess it’s quite a traditional approach, in that there’s a lot of planning and preparation. However, I view each stage as important, not just the final painted work."
An interview with Rigel Stuhmiller
"No handmade print is perfect. The errors usually add interest to the artwork and give it a lot of character."
An interview with Kathy Rooney
"I had strong creative urges at an early age. When I was about nine years old I drew a landscape using hand-picked stones on a slate sidewalk section in front of my house—a process that took all day."