GALLERY MULTI•2D
TOOLS for the CRATER
an exhibition of & for the mind
Organized & Curated by the Crater Collective
This exhibition remains here in honour of participating artist,
Ralph Kiggell (1960-2022)
whose valued optimism, keen wit, and gentle kindness that belied his brilliance
live on in remembrance of him.
Please take a moment to view Ralph’s exquisite artworks.
“As a calm image of rippling water, my print is created with a soft range of blues and whites. The colours on the one hand, and the rippling water, with the fish below, on the other hand, offer points of focus for meditation, and to soothe the doubts, insecurities and traumas that all of us suffer from. Like trauma, a ripple may begin with an incident (a thrown-stone for example, or the flick of a fish’s tail), but the effects of that energy—negative or otherwise—move away from the incident, and eventually slow down until the surface is calm again.” | Ralph Kiggell
“In depression one is isolated. One feels unheard. The music I created to accompany these pieces of art was my attempt to hear them—to listen to what the artist was saying visually and reflect what I see back to them in sound. If the artist felt that the music resonated with them and their art then I consider my creation a success.” | Judy Night
PEMA DEKYI LAMA |
Nikon COOLPIXP7700 images
Edited with Snapseed, double-exposure (right)
“I see the devotion that this welder is putting into his work. That’s the beauty of what I see as an observer. In my view, once we know how to build connection with work, satisfaction is sure to follow.”
“On the streets I always see kids holding bunches of pink cotton candy, which saddens me at the same time I feel sorry for them. Taking a picture of this young boy tells me to be grateful for whatever I have.”
“An old nun with prayer beads who always used to sit on the steps of the main temple reminds me of the stunning Boudha Stupa in Kathmandu: there is an underlying feeling of being blessed and connected whenever I go there. Most importantly, it was great pleasure for me to take her picture.”
KAREN HELGA MAURSTIG | imagery
JUDY NIGHT | music
“Walk the Mountain is a short journey, taking the viewer on a mind walk underlined by music. Opening the book, a world of transparent paper and light is unveiled. The paper and the hands touching the book give a sense of tactility, the photos of footprints moving, a sense of walking.
I, myself, often experience that being in nature reduces stress and fear. Even viewing or remembering scenes of nature can soothe me. Maybe you can feel some relief or optimism by enjoying this video, even if only for a moment.”
TEBIDO | hanging scroll (kakejiku), ramie & natural dyes
"My work represents the deep abyss and the clues to emerging from it. I hope that people can breathe a sigh of relief when they see my work."
CATHARINE MURRAY
The Girls in My School
1
The girls in my school didn’t shoot themselves.
They waited for the morning commuter train
Fast and heedless bearing down the track
Aware of only its final destination
They stepped from thin saplings
into their delicious dream of sudden smack
Of steel on bone so that they died
I don’t know how fast
But I like to think
Fast enough to end their pain without more.
There was all the
wanting to evaporate
Disintegrate
No longer take up any space.
Starving ourselves was the next best thing
To not being there.
Jeans that were already too tiny
For any teenage girl sagged
Under belts cinched to final hole
Hard denim bunched under blouses
Stick arms crossed over piles of books
Gaze skimmed green linoleum
Because we were so locked into everything above
Our necks
At least I was.
2
When I came home from school each day
The house waited empty except for
two shrill bloat-bellied dogs.
Tall freezer housing
gallons of ice cream drew me in.
As soon as I unlocked the door
CLAIRE CUCCIO
Epistemology
—Will the books ever speak for you, butterfly?
Or is the question “intangible
matter,” a lack, say, of: Capacity? Compassion? Comprehensiveness?
(Some tempting, tricky trinity.)
Can the report not simply report
when the butterfly becomes one,
but how she wriggles in her shape-
shifting, which is her instinct, n.b.
stifled, sweating, sleepless, so
cramped in that the cozy cocoon
She needs to “stretch her
wings,” as Word, at least,
has crafted—making her
over overall into metaphor.
While in my own un
reliable omniscience:
when she wriggles, the walls
of her cocoon push back, such
insult to its woven mail.
An abrasive wail the chrysalis
emits that it scars her fetal wings.
stifled, sweating, sleepless, so
cramped in that the cozy cocoon
This feels like a lifetime
in a season. Though we know
it’s just a phase.
But can scholarship even claim
to speak of metamorphosis,
when the butterfly—she is
the testament, she is the body.
(† And it must be noted:
we cannot know her how
ever the lens portends:
“She can be examined.”)
I haven’t read the research yet,
yet equipped with the right device,
the cocoon’s womb resounds,
registers of writhing & rankling.
Then the sensations of her trans
formation into sheer mosaic—
who, pray tell, translates that?
Dear butterfly, what do you make
of Chuangzi’s incessant ringing—
“Are you dream or reality?”
And may I ask, oh butterfly,
do you conceal your self with
in, invisible, so that the chrysalis
cannot flaunt how it constricts you?
KIKO DENZER
“My father used to say that if you never get depressed, you're not paying attention. I think the same applies to joy. Coffins bear our bodies back into the dark earth which feeds us in life.”
Coffin handmade for a friend of jointless, commercial Douglas fir, bamboo and pine from down the street and steam-power milled in Northern California
MELANIE YAZZIE | mixed media on paper
“I made the works during COVID and also during a time I was dealing with the huge grief of losing my mother to this virus. They represent to me the ladder I used to climb out of the dark place I was in. They are filled with layers of meaning and I can see from this side of my grief that it took so much to come forward. I struggle so often with the inner thoughts. I see now that the layers in my works are about this inner conversation.”
stories of my hand
rubbed in oil my palm
pressed onto the paper´s skin
black and blue ink washed over
revealed my life line
my heart line
my solitude
ELISABET ALSOS STRAND
“My piece was created in a time of uncertainty when anxiety and loneliness overwhelmed me. Living alone, with my family elsewhere, there was no one to touch. My skin and its sensibility went into lock-down . . . Through my work I would like both to reveal my loneliness, as well as
handa mi fortel
smurt inn med olje
trykte den papiret si hud
svart og blått blekk strauk over
avdekte livslina mi
hjartelina mi
einsemda mi
create a graphic and symbolic gesture towards people. The pandemic united us, as I experienced in the Solving Studio: we were able to relate to each others’ experience of fear, sadness and feeling of uncertainty. Creating art was still possible. It can be the language that provides hope, understanding and peace of mind.”
SHARI LAWRENCE PFLEEGER
Poem | Shadow Play
“The Nantahala Gorge is clearly an actual depression in the earth, so it and the presence and absence of the sun speak to ways to cope with absence, at the same time looking forward to some kind of eventual enlightenment. Midday in the gorge is spectacular in part because the mostly-shadowed river sparkles brilliantly in the noontime sun—an apt metaphor for how we appreciate some things only when we are deprived of them for a long period of time. And the gorge's age and stubbornly resilient plantings highlight resilience and growth.”
PATTY HUDAK
“Depression can be a process of slowing down and revealing the depths of being human. On the continuum of ‘expression,’ going into the depths is an exploration of being human and finding a place where we meet with the source of every element on our planet. Depression is painful, especially as there is not always an atmosphere where it can be lived and expressed.”
TAMERA BEDFORD
“What I made symbolically represents the shape of a crater, but also the feeling one can have of falling into a hole while struggling through a bout of depression. Blue is the color most used in connection to works made related to depression, but I chose to use purple in my piece to represent both the mental aspects of being depressed (blue), and the physical toll (red/blood) it can take on you.”
BIDHATA KC
“The language of depression that plays in your mind constantly makes you feel drained and you become mentally incapacitated, as if attempting to exit a labyrinth where you only get lost in the hedge.”
Tamera Bedford “The words I chose for my work originate in some of Bidhata’s words inscribing her piece: hopelessness, immobilized, emptiness, falling apart, fragmented, aimless and lost.”
CRATER COLLECTIVE
Bidhata KC is a contemporary artist who lives and practices in Kathmandu, Nepal. She works in numerous mediums, including print, paint, plastic and ritual vessels. Educated at Tribhuvan University in its nascent printmaking program and the painting and sociology departments thereafter, she is committed to Nepal’s cultural history and iconography. With her deep reverence for place, her work demonstrates an empathy for local gender-based violence, sexual rights, environmental pollution and climate change. She has been awarded numerous accolades and grants, including the “Bhadrakumari Ghale Fine Art Award 2020” and “Artist of the Year 2018” by Women with Vision II, 100 Most Influential Women of Nepal. https://bidhatakc.com/
Catharine H. Murray is an author, poet, teacher and writing guide from Portland, Maine, US. Murray earned her BA from Harvard University and completed her MFA in creative writing at University of Southern Maine’s Stonecoast Writing program. Murray lectures and leads workshops on healing through writing, listening and trauma-resolution. Her memoir, Now You See the Sky, was selected to launch Akashic books’ Gracie Belle imprint, curated by Ann Hood. Gracie Belle books focus on the topic of loss to provide help and healing for those living with grief. https://catharinehmurray.com/
Claire Cuccio woodpaperhand.org/profile
Elisabet Alsos Strand explores the universe of paper and printing in the form of woodblock prints and artist’s books in Trondheim, Norway. Her imagery is strongly influenced by the majestic and desolate landscapes of her homeland. Strand holds a MFA from the Bergen Academy of Art and Design, and was awarded a PhD in Art from the Matejko Art Academy of Krakow, Poland. She has participated in numerous exhibitions in Norway and abroad and received the Kunstklubben Prize for best print at the National Annual Autumn Exhibition in Oslo in 2006. She has been selected for the Main Exhibition at the 2021 International Print Triennial in Cracow. www.elisabet.no
Hashizume Yoshiko 橋爪佳子, known by her artistic persona TEBIDO, received her MFA in printmaking at Beijing’s Central Academy of Fine Arts (CAFA) in 2003. She has made Beijing her home since, while conducting collaborations and art and design exchanges between there and Kyoto. TEBIDO finds her expression through design, humor, objects, natural materials, observation in the world around her and her deep knowledge of Chinese folk craft traditions. She has been the back-cover designer for the journal “Think Asia”; publishes writings about folk craft; leads a range of print, design and handcraft workshops; and serves as a translator and interpreter in the art world.
Judy Night (aka Judy Shatkin) is a pianist and composer who returned to her passion after a life-threatening event. Judy played piano in the top jazz bands at New Trier High School and Harvard University (with Joshua Redman), but chose to pursue a medical degree and the practice of Pediatrics. In 2000, diagnosed with breast cancer, Judy began her journey, finally leaving the medical profession in 2009, and in its stead practicing meditation and reintegrating with her passion for creating in the musical sphere. But it was the Crater Collective, an outgrowth of WoodPaperHand’s Solving Studio that led her to MIDI/digital composition, and she is thrilled to share her very first such works here in this project.
Karen Helga Maurstig is based in Vassenden, Norway. She studied graphics and fine art at the Willem De Kooning Art Academy Rotterdam, Netherlands, and National College of Art and Design, Oslo, Norway. She was a driving force behind 20 Coastal Stations – an international project and exhibition dedicated to the Japanese woodcut technique, mokuhanga. Maurstig collects frozen moments and tiny treasures, and translates them into graphic expressions. Her portrayals of the smallest parts of nature reflect much larger themes, such as environment, ecology and respect for life. The artist’s tactile longings find their expression through paperfolding and bookmaking. https://www.maurstig.com/
Kiko Denzer I make containers of all kinds: ovens, spoons, bowls, coffins, stools, and sometimes sculpture that only contains a story. I left gallery art a long time ago, in favor of a more traditional approach to art, not as a means of self-expression, but as a normal activity that produces just what we need, from spoons to homes to stories, and by which we come to understand the big story of how the life we make connects us back to the world that makes us. So I submitted what I was working on when I got the invitation. All of life tells the same story, and all of what we make expresses the life that we live, from joy to sadness and, I hope, back again. https://www.handprintpress.com
Melanie Yazzie, as a printmaker, painter and sculptor, draws upon her rich Diné (Navajo) cultural heritage. Her work follows the Diné dictum “walk in beauty” literally, creating beauty and harmony. As an artist, she works to serve as an agent of change by encouraging others to learn about social, cultural and political phenomena shaping the contemporary lives of Native peoples in the United States and beyond. Her work incorporates both personal experiences as well as the events and symbols from Diné culture. Yazzie uses her travels around the world to connect with other indigenous peoples. She has exhibited worldwide and her work is held by numerous public and private collections. Her work can be found at the Glenn Green Gallery in Santa Fe, New Mexico. https://www.colorado.edu/artandarthistory/melanie-yazzie
Patty Hudak’s art explores the human mind as it connects and is embodied in nature. Hudak is a graduate of Wellesley College in Massachusetts, US, and has continued her art education at the New York Studio School, the Alternative Arts School, and at the Mokuhanga Innovation Laboratory in Kawaguchi-ko, Japan. Currently residing in Underhill, Vermont, she is a recipient of Vermont Arts Council's 2018-2019 Creation Grant and Vermont Artists to Watch in 2020. As well as her work in Vermont, Hudak spent 12 years working in China and Japan, which informs not only her materials, but also her personal approach to imagery. https://www.pattyhudak.com/
Pema Dekyi Lama was born in the remote region of Nubri in the Gorkha District, Nepal and graduated from Shree Mangal Dvip Boarding School (SMD) in the Boudha area of Kathmandu. Lama received a full academic scholarship at UWC Red Cross Nordic on the remote western shores of Norway, and is completing her IB diploma there. Prior to studying in Norway, she served SMD by volunteering as the school’s student office manager and as a primary school English teacher. She is an avid photographer and now participates as a photographer for school events. In Pema’s words, “I love photography, which really inspires me to stay connected with nature and to appreciate the kindness of it. It makes me feel alive and keep going on with life. Not only that, but also it made me realise that there is no ugliness or beauty of any object; it just depends on the observer.” https://www.instagram.com/pemaarchive_/
Ralph Kiggell, ARE is a British artist based in Bangkok, who has taught and trained extensively in both China and Japan. He holds a BA in Chinese Studies from SOAS, London University (1983), a diploma in Chinese language from Foreign Languages University, Beijing (1981), and an MA in Printmaking from Tama Arts University, Tokyo (1999). He recently served as vice chair of the International Mokuhanga Conference 2021, Nara, Japan. He expands on his knowledge of traditional woodcut processes and Asian papers to create fine art that melds eastern and western approaches to print, design and craftsmanship. In prints, papercuts, books and murals, his dramatic work – from urban landscapes to plants, cells and organisms – is inspired by the natural world and our taut relationship with it, and informed by curiosity, investigation and travel. https://ralphkiggell.com/
Shari Lawrence Pfleeger is a mathematician with a long-time passion for poetry. Her poems reflect both natural and constructed worlds, often reflecting interactions with family and friends. She has won prizes twice at the Ripon Poetry Festival (2017 and 2018), and her poems have been published in District Lines and in two anthologies of Yorkshire poetry.
Tamera Bedford is a mixed media artist who is noted for her artistic practice and to the nature of her diverse subject matter. Her work turns to visual representation to capture her deep respect for environmental phenomena and beyond to biological life and mental flows of the human brain. Her work spans the micro-elements of these natural networks and systems out to their superstructures built of exquisite flows, lines and patterns. Self-trained, Bedford mixes brilliant palettes of color that mimic the range of combinations and hues she has witnessed in the natural world as well as simulate mind maps of our cognitive experience. https://www.tamerabedford.com
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