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issue #5   |   fall 2019




issue #5

click names or scroll

jack felice+

+
care package
sheilah restack+

+
rose you made a letter shaped like an ax, good girl
john liles+

+
hunger
ieva sliziute+

+
three pieces from (un)intentional cuts
hannah lawless+

+
viatique / viaticum
raymond de borja+

+
two pieces from fracture
émilie kneifel+

+
i have a keyboard shortcut for how we say i love you
patrick dunham+

+
duly sliced above the hissing fossils
alonso llerena+

+
two works from la casa roja
contributor notes

jack felice

care package



Materials:
Magazine Clippings & Glue

sheilah restack

rose you made a letter shaped like an ax, good girl

Materials:
plotter paper, acetate, thread, pencil, paper, tape. 20" x 30", 2019

Notes:
These photo sculptural works are begun by attaching photo paper to my feet, then going about my day. When I am done, I develop them in the darkroom and they reveal marks of light, contact, wear of the ground through the material. The work was begun as a gesture towards documenting the in between of identities and unacknowledged moments as I moved through studio, dropoff, playdate, work, students, home. Artist, mother, lover, teacher, friend, artist, mother lover, child, mentor.

This particular work is a scanned walking print with my daughters imitation of the walking print laid on top. She taped her own paper to her feet to make a print, and it became incorporated with this piece.

john liles

hunger



Notes:
Erasure poem from eleven:eleven, original by Anthony Seidman

ieva sliziute

three pieces from (un)intentional cuts







(un)intentional cuts is a series of analog collages created by visual coincidences. This assemblage technique paired with creative intuition merges images found in fashion magazines (always two images per collage) into new scenarios, where everything is seamlessly interconnected through either shape, colour or context. Becoming an extension of each other, the photos are removed from their original stories and carefully layered by means of cutting, destroying, combining and rearranging to provide a new contextual setting for visual material. (un)intentional cuts aims to celebrate both the world, where scissors and hands are the only tools for image manipulation, and the value of printed media, which in this overly digital age reemerges in rather unexpected ways.

hannah lawless

viatique / viaticum







Materials:
Antique brass business card holder, antique book and notebook papers, dried flower petals, plastic vellum, and thread. Photos of work taken by Joelan Howes.

raymond de borja

two pieces from fracture





Materials:
Collage of cut papers on paper, 9.75 x 7.2 inches.

émilie kneifel

i have a keyboard shortcut for how we say i love you



Notes:
text messages with the author's mother, compiled and resent

patrick dunham

duly sliced above the hissing fossils



Notes:
Digital collage with photographs and found imagery

alonso llerena

12 (from la casa roja)



8 (from la casa roja)



Notes :

La Casa Roja foregrounds difficulties in familial relationships and identity against a journey through the Peruvian Internal Armed Conflict, immigration to the United States and a long-sought return to the speaker’s place of birth after nearly twenty years.

In these movingly voiced poems, a struggle of what it means to be a Peruvian creating memory abroad is hashed out by recounting events during the time of the conflict, the time away from my homeland, and the final return to a politically charged and now divided nation. Sensual turns come in poems which explore bilingual identity on the page and the importance of public space as a battle for commemoration. A son and a father confront this past over a drink, mestizaje and conflict are juxtaposed, a poet visits roadside execution sites or prisons destroyed by the state, and a desert speaks to us.


ctrl + v

issue #5   |   fall 2019


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issue #5

click names or scroll

jack felice+
+
care package
sheilah restack+
+
rose you made a letter shaped like an ax, good girl
john liles+
+
hunger
ieva sliziute+
+
three pieces from (un)intentional cuts
hannah lawless+
+
viatique / viaticum
raymond de borja+
+
two pieces from fracture
émilie kneifel+
+
i have a keyboard shortcut for how we say i love you
patrick dunham+
+
duly sliced above the hissing fossils
alonso llerena+
+
two works from la casa roja
contributor notes

jack felice

care package

care package

Materials:
Magazine Clippings & Glue

sheilah restack

rose you made a letter shaped like an ax, good girl

rose you made a letter shaped like an ax, good girl

Materials:
plotter paper, acetate, thread, pencil, paper, tape. 20" x 30", 2019

Notes:
These photo sculptural works are begun by attaching photo paper to my feet, then going about my day. When I am done, I develop them in the darkroom and they reveal marks of light, contact, wear of the ground through the material. The work was begun as a gesture towards documenting the in between of identities and unacknowledged moments as I moved through studio, dropoff, playdate, work, students, home. Artist, mother, lover, teacher, friend, artist, mother lover, child, mentor.

This particular work is a scanned walking print with my daughters imitation of the walking print laid on top. She taped her own paper to her feet to make a print, and it became incorporated with this piece.

john liles

hunger

hunger

Notes:
Erasure poem from eleven:eleven, original by Anthony Seidman

ieva sliziute

three pieces from (un)intentional cuts

three pieces from (un)intentional cuts

 

 

Notes:
(un)intentional cuts is a series of analog collages created by visual coincidences. This assemblage technique paired with creative intuition merges images found in fashion magazines (always two images per collage) into new scenarios, where everything is seamlessly interconnected through either shape, colour or context. Becoming an extension of each other, the photos are removed from their original stories and carefully layered by means of cutting, destroying, combining and rearranging to provide a new contextual setting for visual material. (un)intentional cuts aims to celebrate both the world, where scissors and hands are the only tools for image manipulation, and the value of printed media, which in this overly digital age reemerges in rather unexpected ways.

hannah lawless

viatique / viaticum

viatique / viaticum

 

 

Materials:
Antique brass business card holder, antique book and notebook papers, dried flower petals, plastic vellum, and thread. Photos of work taken by Joelan Howes.

raymond de borja

two pieces from fracture

two pieces from fracture

 

Materials:
Collage of cut papers on paper, 9.75 x 7.2 inches.

émilie kneifel

i have a keyboard shortcut for
how we say i love you

i have a keyboard shortcut for how we say i love you

 

 

Notes:
text messages with the author's mother, compiled and resent

patrick dunham

duly sliced above the hissing fossils

duly sliced above the hissing fossils

Notes:
Digital collage with photographs and found imagery

alonso llerena

two pieces from la casa roja

12 (from la casa roja)

8 (from la casa roja)

Notes:
La Casa Roja foregrounds difficulties in familial relationships and identity against a journey through the Peruvian Internal Armed Conflict, immigration to the United States and a long-sought return to the speaker’s place of birth after nearly twenty years.

In these movingly voiced poems, a struggle of what it means to be a Peruvian creating memory abroad is hashed out by recounting events during the time of the conflict, the time away from my homeland, and the final return to a politically charged and now divided nation. Sensual turns come in poems which explore bilingual identity on the page and the importance of public space as a battle for commemoration. A son and a father confront this past over a drink, mestizaje and conflict are juxtaposed, a poet visits roadside execution sites or prisons destroyed by the state, and a desert speaks to us.

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