A “primer” that details my heart surgery in 2002, images reveal my chest going from healthy and hairy to shaved and injured, held together with staples and strips, through an angiogram and x-ray, sternum and lungs, into the heart and beyond. The book is bound on the left and right sides and pages generally open in the middle through a series of increasingly complex methods. Such as a “fringe” made to the approximate scale and shape of the staples or undoing a metal twist tie on the image of the sternum in order to proceed to the next page.

Handmade, paperback with stiff board, inkjet prints on enhanced matte paper with waxed linen thread, craft wire, staples, and PVA.

“Belongings explores the idea of the object as catalyst for narrative. We approached eight women asking to be provided with an object holding a special memory or story. We used what we were loaned as muse and stimulation for our writing, to create new narrative potential. The resulting book contains photographs of the belongings and the writings these inspired.”

Printed text and photographs on Heidelberg GTO52 printing press; french sewn, hand-bound hardback with foil embossing on cover. Text by Sylvia Waltering and Lucy May Schofield. Images by Sylvia Waltering.

“I made this book as my master’s thesis at the University of Alabama. It is the latest output of a
collaborative process with the writer, and my good friend, Joanna Ruocco. The content concerns the
quotidian, the erotic, and the sometimes violent interactions occuring during the course of everyday
activities within domestic spaces.”

Letterpress with polymer plates, silkscreen. Exposed spine binding, sewn on paper tapes, housed in a
slipcase. Prose poems by Joanna Ruocco. Images by Sarah McDermott – The Kidney Press.

Umberto Eco states that, “We like lists because we don’t want to die.” Collections physically and
temporally expand the space we occupy in this world; they reinforce our existence. The Kashash & the
Archivist explores the compulsions of collecting through the microcosm of pigeon wars (also know as
kash al-hamam or kashash hamam), an underground sport obsessed with living collections.

Handset type, reduction linoleum, photopolymer plate, case bound. Text and images by the artist.

Letterpress printed with metal type and polymer plates. Modified long stitch binding, housed in a slipcase.

Sarah says:

This book works off of a short prose piece by my collaborator Joanna Ruocco. The piece is composed of a series of short phrases (aka parataxis). I investigated the relationships between the phrases via objects. A second layer investigates the overarching human relationship behind the piece.

Sarah McDermott lives in Brooklyn, New York, where she makes books and prints as The Kidney Press. She got her MFA in Book Arts at the University of Alabama. She teaches printing and bookbinding workshops in the NYC area.

Handmade paper pulp painting, woodcut, watermark. Part of a series of four prints that represent comparative elements in the lives of Charles Mingus and Pithecanthropus erectus, a subject of Mingus’s musical work.
Based on Charles Mingus’s musical work, “Pithecanthropus erectus,” images and words weave the music’s story together with the factual tale of the discovery of early hominid Pithecanthropus erectus. In the symbolism of Mingus, Pithecanthropus erectus represents the accomplishments but also the tragic self-satisfaction of the dominant hominid. The four stages of his rise and fall are documented in the prints, in works directly responding to the music written and performed by Mingus.
Lynn  produced watermarked handmade hemp sheets and handmade abaca pulp paintings.  . . the woodcut images are printed with a letterpress.

Lynn Sures’ studio practice includes three-dimensional paperworks, printmaking, book arts, and ceramic sculpture. Her artist’s books appear in the Penland Book of Handmade Books, and 500 Artist Books. Her work is represented in collections of the United States Department of State, the US Library of Congress, Yale University, and the American Museum of Papermaking.

Handmade paper pulp painting, woodcut, watermark. Part of a series of four prints that represent comparative elements in the lives of Charles Mingus and Pithecanthropus erectus, a subject of Mingus’s musical work.
Based on Charles Mingus’s musical work, “Pithecanthropus erectus,” images and words weave the music’s story together with the factual tale of the discovery of early hominid Pithecanthropus erectus. In the symbolism of Mingus, Pithecanthropus erectus represents the accomplishments but also the tragic self-satisfaction of the dominant hominid. The four stages of his rise and fall are documented in the prints, in works directly responding to the music written and performed by Mingus.
Lynn  produced watermarked handmade hemp sheets and handmade abaca pulp paintings.  . . the woodcut images are printed with a letterpress.

Lynn Sures’ studio practice includes three-dimensional paperworks, printmaking, book arts, and ceramic sculpture. Her artist’s books appear in the Penland Book of Handmade Books, and 500 Artist Books. Her work is represented in collections of the United States Department of State, the US Library of Congress, Yale University, and the American Museum of Papermaking.

Handmade paper pulp painting, woodcut, watermark. Part of a series of four prints that represent comparative elements in the lives of Charles Mingus and Pithecanthropus erectus, a subject of Mingus’s musical work.
Based on Charles Mingus’s musical work, “Pithecanthropus erectus,” images and words weave the music’s story together with the factual tale of the discovery of early hominid Pithecanthropus erectus. In the symbolism of Mingus, Pithecanthropus erectus represents the accomplishments but also the tragic self-satisfaction of the dominant hominid. The four stages of his rise and fall are documented in the prints, in works directly responding to the music written and performed by Mingus.
Lynn  produced watermarked handmade hemp sheets and handmade abaca pulp paintings.  . . the woodcut images are printed with a letterpress.Mingus, woodcut, watermark, paper pulp painting.

Lynn Sures’ studio practice includes three-dimensional paperworks, printmaking, book arts, and ceramic sculpture. Her artist’s books appear in the Penland Book of Handmade Books, and 500 Artist Books. Her work is represented in collections of the United States Department of State, the US Library of Congress, Yale University, and the American Museum of Papermaking.

Handmade paper pulp painting, woodcut, watermark. Part of a series of four prints that represent comparative elements in the lives of Charles Mingus and Pithecanthropus erectus, a subject of Mingus’s musical work.

Based on Charles Mingus’s musical work, “Pithecanthropus erectus,” images and words weave the music’s story together with the factual tale of the discovery of early hominid Pithecanthropus erectus. In the symbolism of Mingus, Pithecanthropus erectus represents the accomplishments but also the tragic self-satisfaction of the dominant hominid. The four stages of his rise and fall are documented in the prints, in works directly responding to the music written and performed by Mingus.

Lynn says:

I produced watermarked handmade hemp sheets and handmade abaca pulp paintings.  . . My letterpress-printed woodcut images incorporate polymer plate text.

Handmade paper pulp painting, etching.

Lynn says:

I listen to music whenever I work, and some wonderful friends took me last year to hear Chris Botti at the Blue Note in New York City. Since then, in my studio, I often have Chris’ band playing on my iPod. Fantastic.

Lynn Sures’ studio practice includes three-dimensional paperworks, printmaking, book arts, and ceramic sculpture. Her artist’s books appear in the Penland Book of Handmade Books, and 500 Artist Books. Her work is represented in collections of the United States Department of State, the US Library of Congress, Yale University, and the American Museum of Papermaking.