4 3 2 CRY mediates parallel narratives of personal and environmental loss, exposing the effects of hydraulic fracturing for oil and gas upon families, land, air and water. It is a lament and a goodbye for both the material/ physical place that Hettinga dearly loved in Northern, Colorado, and the unspeakable loss of her beloved husband. The artist brings these immaterial/ incorporeal/ spiritual aspects into material presence. The book is a lament for a community transformed by drilling operations and leads to the author’s call to stop hydraulic fracturing in the USA.
The book received the Women’s Studio Workshop Book Residency Grant, was designed as a Scholar Chair at Messiah College, produced while a resident at WSW and bound at the artist’s Colorado studio. Hettinga states: “This project challenged me to the very limits of my design, bookmaking, technical skills, knowledge, stamina, and drive to achieve the materialization, actualization of 4 3 2 CRY.”
Hettinga’s art/design work lies at the intersection of design, photography, digital prints, and book arts. Jenn Bratovich, WSW blogger, has this to say about her work: “Kathy has always been compelled to ask how we make sense of loss, grief, and fragility—these themes hum constantly underneath her interdisciplinary digital work. But it’s Kathy’s “activist radar” and her belief in the democratic nature of self-publishing that drives her to create projects that, like 4 3 2 CRY, use visual communication to call for justice.”
Kathy T. Hettinga, Distinguished Professor of Art and Design, Messiah College, PA, is an active artist in design, artist’s books, and digital prints. She has received national recognition including a Research Fellowship at Yale where she studied with Johanna Drucker and an Artist’s Book Residency, Women’s Studio Workshop.
Her large-scale digital series have been exhibited across the country and in Europe, the Middle East and Australia. Her artists’ books have appeared at Pyramid Atlantic Book Arts, Corcoran Museum; Action/Interaction at the Chicago Center for Book & Paper Arts, and the Dadian Gallery, Washington, D.C.
Her work is in the permanent collections of UCLA’s Grunewald Center, university collections of Iowa, Berkeley, Virginia Commonwealth, Yale; The Library of Congress; MoBIA, NYC; The Fogg Museum of Harvard; and the National Museum of Women in the Arts.
Her art and essays have been published in SIGGRAPH, Graphic Design: USA, American Photography 25, and Latin American Fotografia. In the past decade, Hettinga has worked in artists’ books, design projects for activist causes, and deluxe editions, such as her Grave Images: San Luis Valley (Museum of New Mexico Press).