Land of Lo-Fi
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Prototype picturebook binding for "The River Witch"

Collection of essays, poems, drawings, paintings, and fantasy in handbound editions with accompanying visual exhibit and performances. Supported by Headlands Center for the Arts, The Swan Fellowship at Vermont Studio Center and Blue Mountain Center. In progress.

"Put Your Heart In Water" (essay, gouache on paper, stab binding)
The River Witch (short story, ink on paper, rounded back picturebook)
Portage (essay, ink map, limp leather binding)
Waiting for the Snow(visual essay, gouache on paper, limp leather binding)
"The Murre" (essay, charcoal on paper, linkstitch binding)
The Painter and the Bird (novella, oil-based charcoal pencil on paper, cloth binding)
"Light Journal" (essay, papercut scroll)
Flying with the Sun (novella, gouache on paper, rounded back picturebook)

Put Your Heart In Water might have been a found book, a collection of manuscripts pulled from the attic of grandmother or aunt, written and tucked away while the work of life pulsed on. Perhaps it was never meant to be seen. Inside are writings, drawings, poems, maps of the world as explored, studies of birds and of bones and of seaweed, intricate charcoals of heart. Its pieces oscillate between the real and the fantastic: the urgent mandate of “Put Your Heart in Water,” the haunted realms of The River Witch the careful documentation of time and creation in Portage, the fleeting observations of “Light Journal,” the simple, two-toned love story of The Painter and the Bird. Like any collection, its disparate pieces are held together by a unity of vision; it is clear that one mind, one heart, and one pair of hands have labored at its work. But there is no frame story, and the book has not been found. It is simply and bravely the current collection of a soul, baring itself in fragments to the world.


"THE RIVER WITCH": A fantasy in waves and washed up fragments from the north Pacific shore.

Illustration for "THE RIVER WITCH": Bones

Draft layout and bindings, ink on paper; paper, ink, bookcloth, adhesive, thread; 64 pages, 8 3/4" x 11 1/4" x 3/4"

THE PAINTER AND THE BIRD: A small boy in love with the birds. A girl who learns to fly. Two red and beating hearts.

Draft binding for THE PAINTER AND THE BIRD
Illustration for THE PAINTER AND THE BIRD: FeatherIllustration for THE PAINTER AND THE BIRD: Bird IIIllustration for THE PAINTER AND THE BIRD: Heart II

Draft layout and bindings, oil-based charcoal pencil drawings; paper, ink, bookcloth, adhesive, thread; 192 pages; 8" x 5 1/2" x 5/8"

Draft layout and binding, gouache on paper; paper, ink, bookcloth, adhesive, thread; 148 pages; 7 1/2" x 7" x 5/8"; Portage Lake, Minnesota

WAITING FOR THE SNOW: A visual essay of solitude, Fall 2016, Portage Lake

WAITING FOR THE SNOW #1WAITING FOR THE SNOW #2Waiting for the Snow #1 (9/22/16) and #2 (9/23/16) , gouache on paper, 6" x 6"

LIGHT JOURNAL: Records of light and darkness, Spring 2015, Taos

Original handbound manuscript of "LIGHT JOURNAL"
Original handbound manuscript; paper, pencil, leather, adhesive, thread; 104 pages; 6 3/4" x 4 3/4" x 7/8"

"I found the porcupine in the fall of 2016, a day after deer hunting season opener and the day before the election, near my family’s cabin in northern Minnesota..." (Shooting Porcupines, p. 1)

Porcupine Box. Handbound box and artist book with illustrated essay "Shooting Porcupines"; contributions by Marco Lean, Joyce Nojima, and Erin Wilson. Oil-based charcoal pencil drawings, photographs, clippings, birchbark, porcupine quills. Exhibited with Round Table Postal Collage Project No. 7 and Retrospective. Berkeley, California. June 2018; September 2018.