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1–2 minute experience, or the time it takes to water a houseplant.


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    Thank you for taking part in the poll!

    Are we influenced more by

    The past
    The future

    Issue 8


    Explorations of issue graphic on to different substrates. Graphics by Jessica Ferrer; material translation and screen printing by Nadine Nakanishi.

    [ID: Clockwise from top: A folded piece of fabric; a screen printed resin transfer cast; and a screen print featuring the composition of the issue lexica.]

    Illustration of Nose and Magnifying Glass
    How do artists use sampling
    to reflect on the past/present/future
    of artmaking?

    Sampling is a term with many artistic associations. Today, its most common definition refers to a process in music, where a melody or a beat isolated from another song becomes material for a brand new work. In fiber arts, however, sampling is both exercise and example — a way for the maker to both learn and then demonstrate what was learned. In many trades, sampling guides work on commissions and larger projects.

    Despite these various definitions, we found a few common themes: Sampling is a constant dialogue between new and old, between process and outcome. Sampling fuels and moves us through our interactions in art and in the world, honoring the past and the multiplicity of people whose work have made a craft or artform what it is today.

    As such, sampling can bring up ethical questions about ownership amidst the natural evolution of artistic methods. But even while sampling in all its forms involves a discussion of labor, we also learned the value of leading with intuition in the making process. Sampling, after all, is fundamentally about experimentation and play, drawing first and foremost from the raw material of life itself.

    Enclosed is a sampling of reflections on this topic, with contributions including artists working in sound, artificial intelligence, fiber and paper arts, publishing, and printmaking. We hope these pieces come together to create something bold and new!

    Yours in play,
    Jessica Ferrer and Kate Blair


    A note on the art direction in this issue:

    The graphic library for this issue derives from process-driven prompts and material experimentation from the editorial team. Jessica Ferrer constructed the shapes of the base composition — concentric circles, a grid in motion, hexagons or honeycombs, and wavy worms or wormy waves — and a mold was constructed from the collective outline of these images which was then used to cast a resin object. Photographic processing via photocopier of the screen print, the object, and a textile explores a material timeline visualizing the interdependence of each visual evolution.

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