6 in x 9 in
    6 pages; 6 elements
    manila envelopes
    acetone image transfer, linocut stamps
    deconstructed and reconstructed envelope filing

    4.5 in x 4.5 in
   20 pages
    mohawk superfine paper, manila tagboard, arches heavyweight paper
   laser printed, linocut stamps
   perfect binding

    3 in x 6 in
    9 pages
    mohawk superfine paper, binder rings
    risograph, inkjet printed, linocut stamps
    loose-leaf binding

    4 in x 6 in
54 pages
copy paper, manila tagboard, vellum, cardboard, rubber band, binder clip
laser printed, linocut stamps
accordian binding

    2.5 in x 2.5 in
    10 containers, 20 images
    cyanotype treated paper, film negative, manila tagboard, plastic           cover, embrodiery thread
    cyanotype transfer, inkjet printed, linocut stamps
    loose-leaf binding

    5 in x 3.5 in
3 containers; 5 pages, 7 pages, 3 pages
mohawk superfine paper, arches heavyweight paper, paper clips, binder
inket printed, laser printed, linocut stamps
loose-leaf binding

    6 in x 6 in
    5 elements; 24 pages, 13 pages, 5 pages, 9 pages, 12 pages
    manilla envelope, vellum, manila tagboard, rubber bands, binder 
        clips, paper clips
    inkjet printed, linocut stamps
    perfect binding

As an individual who works in both the visual and performing arts, I have always been frustrated by the lack of collaboration between these two mediums, specifically in regard to playbill design. I have experienced both highly experimental and progressive productions, as well as incredibly innovative and creative printed ephemera, yet rarely ever in tandem. I believe that if greater collaboration between these mediums existed, the experience of live performance would be immeasurably enhanced.

This artist book developed in response to a program I had been comissioned to design with the expectation that I would follow typical conventions. While this new, innovative design was not utilized to promote a production that was equally dynamic and new, I felt it was important for me as an artist to explore how I could bring performative artist books into the theatre space. This design aims to provethat there is a better way to design ephemera in order to engage and involve audiences more fully within the spirit of the production.

This proudction of Iphigenia Among the Taurians used the classic Greek story to create contemporary commentary on the ongoing border crises. When thinking about how this event could be translated visually and tangibly, the visual language of official government documents immediately came to mind. This connection was particularly exciting due to the implicit performative nature of documents being exchanged across borders. This reimagination strives to mimic the tactle and interactive qualities of document handling, utilizing a separate but cohesive compilation of various elements; this forces audiences to take things apart and sort manually. By engaging with tactics utilized by artists working in the book arts, the end design was far more engaging and truly embodies the message the production was trying to portray.