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Gather the scraps, the small bits—trash—from back corners, from
holding places mistaken from holes. Leaave the drawers asking who
givesashit [ more ]. We’re preparing to march on Washington. What
has been given is shit—hinges heavy and pious with it. Not nothing not
[ ]hole notzero. We amass, yes, but why carry all that [ ] it’s useless in
transit and we must keep our hands free. We can wreak havoc with
these bits these hands, digits notzero, notone.
2017, 2023
letterpress, poetry, data cards, handwoven fabric
from a series of 14, each 12 x 8 inchesThis series combines prints on paper with handwoven fabric, completed during artist residencies at Penland School of Craft in 2017 (letterpress) and 2023 (textiles).
The poem was set in metal type, a process slower than handwriting, the keyboard, or cognitive synapse. The resulting ‘rough drafts’ included interruptions and derailments of thought inherent to the slowness of the process. They were printed on library borrower cards, the same technology used in 19th-century Jacquard weaving and 20th-century computer programming.
The fabric behind the data card was handwoven on an 8-shaft floor loom. Themes of landscape, flags, books and the body that appear in the poems are mimicked visually in the weaving patterns. They include Summer and Winter typographic block and undulating twill, woven in cotton and rayon fibers.
Gather the scraps, the small bits—trash—from back corners, from
holding places mistaken from holes. Leaave the drawers asking who
givesashit [ more ]. We’re preparing to march on Washington. What
has been given is shit—hinges heavy and pious with it. Not nothing not
[ ]hole notzero. We amass, yes, but why carry all that [ ] it’s useless in
transit and we must keep our hands free. We can wreak havoc with
these bits these hands, digits notzero, notone.
2017, 2023
letterpress, poetry, data cards, handwoven fabric
from a series of 14, each 12 x 8 inchesThis series combines prints on paper with handwoven fabric, completed during artist residencies at Penland School of Craft in 2017 (letterpress) and 2023 (textiles).
The poem was set in metal type, a process slower than handwriting, the keyboard, or cognitive synapse. The resulting ‘rough drafts’ included interruptions and derailments of thought inherent to the slowness of the process. They were printed on library borrower cards, the same technology used in 19th-century Jacquard weaving and 20th-century computer programming.
The fabric behind the data card was handwoven on an 8-shaft floor loom. Themes of landscape, flags, books and the body that appear in the poems are mimicked visually in the weaving patterns. They include Summer and Winter typographic block and undulating twill, woven in cotton and rayon fibers.