Issue Details:

Betsy BretHarte is the cover artist for the January 2014 issue. Her image The Story Revealed #1 was created using Ortho-Litho film, typed paper and wax on board.

Diana Arterian’s poetry is paired with Rachelle Sawatsky’s paintings.

Jennifer Bartlett’s poetry is paired with Andrea Baker’s collage images. More of Jennifer’s writing can be found here:http://www.wordgathering.com/issue27/reading_loop/bartlett.html

Jess Burnquist’s hybrid writing is paired with Betsy BretHarte’s photographs and mixed media works. The images are: The Story Revealed #1 and The Story Revealed #2 (Ortho-Litho film, typed paper and wax on board), Ascension Home (Toned silver gelatin print), and
Looking to light (hand-coated cyanotype). For individual and small group workshops with Betsy, please contact her at bbretharte@yahoo.com


Diana Arterian once worked at an auction house where she spent her days transcribing Civil War ephemera. Her favorite line was in a diary, in which a soldier described Lincoln when he visited the troops as having “strange movements.”

Andrea Baker rarely sits properly in chairs.

Jennifer Bartlett has a yard. A big yard. In Brooklyn.

Betsy BretHarte spent two years taking her showers in a 5 gallon bucket.

Jess Burnquist successfully convinced her entire second grade class that her imaginary friend, Pricilla Fartface (who lived in a light bulb) could cast spells on children. It was a lonely year.

Rachel Sawatsky used to write under a pen name.

Diana Arterian

featuring images by

Rachelle Sawatsky


text © copyright Diana Arterian and images © copyright Rachelle Sawatsky, 2014


Jennifer Bartlett

featuring images by

Andrea Baker


text © copyright Jennifer Bartlett and images © copyright Andrea Baker, 2014


Jess Burnquist

featuring images by

Betsy BretHarte


text © copyright Jess Burnquist and images © copyright Betsy BretHarte, 2014



Issue Details:

Jeanne Williamson is the cover artist for the February 2014 issue. Her image #4 from The Ground Through the Fence Series is mixed media on cradled board. The series explores what one might see when looking through the holes in construction fences out in their element. They are a combination of monoprinted textures of orange construction fences, painting, and stitching on cradled board.

Judith Roitman’s poetry is paired with Lee Chapman’s drawings “Flowers for the Dead,” “Ghost Rags,” and “Untitled”. The drawings were made with Rapidograph pens and Prisma Colors on paper. Lee begins most of her drawings with no idea or image in mind. She says “I simply set the pen down at some spot on the paper and let the drawing develop itself. One mark leads to another; the hand operates on visual intuition alone. The result is always a surprise to me, and therein the delight.” More of Lee’s artwork can be seen here:http://www.leechapmanart.com/

Sarah Sarai’s poetry is paired with Carolyn Guinzio’s photography.

Stacy Kidd’s poetry is paired with Jeanne Williamson’s artwork. Jeanne’s artwork explores the different grid patterns of construction fences. Her artwork is a combination of printmaking, painting, collage, and sometimes stitching, on fabric. Sometimes she mounts the fabric on boards, making them mixed media paintings, and other times she stiffens the fabric, making it appear more like paper or plastic. More information and a video about her inspiration can be found here: http://www.jeannewilliamson.com/statement.html
Moving Fences #1 is mixed media on cradled board. The Moving Fences Series explores construction fences out in the elements over time. They are windblown, get limp and sag in the heat, and sometimes crack and break in the cold. The moving sections of fences in the foreground of each piece are shown in contrast to the background grids from which they originate. Fractured Fence Repaired #5 is mixed media on stiffened fabric. The Fractured Fence Repaired Series explores blue construction fence patterns on white (reminiscent of blue and white plates), that are fractured and then repaired with gold (Kintsukuroi). Fences and Nests #7 is mixed media on cradled board. The Fences and Nests Series combines the monoprinted textures of orange construction fences with the nest-like circles of thread scraps, on cradled board. More of Jeanne’s artwork can be seen here:http://www.jeannewilliamson.com
More of Stacy Kidd’s poetry can be found here:


Lee Chapman was disappointed to discover that, according to a teacher at San Francisco Art Institute, she is a sit-down artist. Disappointed because she’d had her heart set on being the much more glamorous Abstract Expressionist of the extra big canvas.

Stacy Kidd has been to both Dollywood and Graceland.

Judith Roitman is double-jointed. She does not know how to ride a bicycle.

Sarah Sarai once sewed stuffed cactus using Butterick patterns.

Jeanne Williamson has a collection of over 500 Pez dispensers, 100 bottle openers, and 50 eyewash cups, and she shares a birthday with Garfield the Cat.


 Judith Roitman

featuring images by

Lee Chapman


text © copyright Judith Roitman and images © copyright Lee Chapman, 2014


Sarah Sarai

featuring images by

Carolyn Guinzio


text © copyright Sarah Sarai and images © copyright Carolyn Guinzio, 2014


Stacy Kidd

featuring images by

Jeanne Williamson


Issue Details:

Ellen Pliskin is the cover artist for the March 2014 issue. Her image Chilcombe Hill (England) is from her “English/Scottish Series,” and was created with watercolor, gouache, and pencil. The watercolor and mixed media paintings in this series reflect a convergence of the traditional painting and modernist pictorial exploration. Ellen uses layers of color to suggest real objects and places. The paintings are composed of areas of color that flow into each other and flood the entire sheet of paper. More of Ellen’s work can be seen here: www.EllenPliskin.com

Rosemary Starace’s image-poems are from a series titled The Artist’s Way, Reiterated. Starting with pages torn from the book of a similar name (by Julia Cameron), she mined and marked the existing text, discovering in the process a more subtle “artist’s way.” Other work in this series can be seen here:http://journal.rosemarystarace.com/index.php?s=art-way  Further examples of Rosemary’s writing and art can be seen here:  www.rosemarystarace.com

Lia Greenwell’s poetry is paired with Ellen Pliskin’s images. Featured images are: Meditating Figure (pastel), Seated Figure On A Purple Cloth(pastel), Yellow Wall Red Door (silk aquatint monoprint), Ross-Shire (Scotland) (watercolor, gouache, & pencil), and Eriskay (Scotland)(watercolor, gouache, & pencil). The pastel figures were created at the studios of the Creative Arts Workshop in New Haven.  In the summer Ellen likes to work on drawings of the figure as a counterpoint to the tightly controlled landscape watercolors she usually produces. Yellow Wall Red Door is from a series based on the small white hill villages near Toremolinas, Spain. This silk aquatint monoprint was created by attaching silk to a plexiglass plate,then drawing on that plate with waterbased crayons and printing ink.  The image was then transferred by laying a piece of paper on the painted surface and then by applying pressure, running the plate through a hand-cranked press. Ellen then applied layers of other media such as watercolor and pencil by hand to the monoprint. This embellishment allows Ellen to explore texture more deeply and creates greater richness to the work. The paintings from Ellen’s “English/Scottish Series” were created with watercolor, gouache, and pencil. The watercolor and mixed media paintings in this series reflect a convergence of the traditional painting and modernist pictorial exploration. Ellen uses layers of color to suggest real objects and places. The paintings are composed of areas of color that flow into each other and flood the entire sheet of paper. More of Ellen’s work can be seen here: www.EllenPliskin.com

Sarah Mangold’s poetry is paired with the first four images from Lily Prince’s San Giovanni D’Asso  series.  These paintings are oil pastel and watercolor on paper, and were inspired by or created in Italy. Through her art, Lily attempts to translate observational experiences from nature into a language of personal expression and universal significance.  More of Lily’s work can be seen here: http://www.lilyprince.com/and here: http://palmergallery.vassar.edu/news/announcements/2013-2014/131120-here-there-everywhere.html More of Sarah’s work can be found here: www.sarahmangold.com


Lia Greenwell made her publishing debut with a heated Letter to the Editor in Seventeen Magazine.

Sarah Mangold has attended the annual H.P Lovecraft Film Festival in Portland, OR for twelve years running.

Ellen Pliskin loved living in Canada as a “Landed Immigrant” and enjoyed going to “Expo 67” with everyone who visited her in Montreal.

When not traveling to make plein air drawings or in her home studio painting, Lily Prince is making and eating pie.

Rosemary Starace likes to drift through lake shallows in quiet boats, and study the round nests of the Sunnies. When she was ten, she swam to an island.


Rosemary Starace

from the series

The Artist’s Way, Reiterated

text © copyright Lia Greenwell and images © copyright Ellen Pliskin

dividelineSarah Mangold

featuring images by

Lily Prince


text © copyright Sarah Mangold and images © copyright Lily Prince



Issue Details:

Lynda Ray is the cover artist for the April 2014 issue. Her image Groundwater is an Encaustic mixed media piece. More of Lynda’s work can be seen here: www.lyndarayart.com and here:  http://geoform.net/interviews/an-interview-with-artist-lynda-ray/

Angele Ellis’ poetry is paired with Stephenie Foster’s untitled images, created with watercolor, graphite, and charcoal. More of Angele’s poetry can be found here, here, here, here, and here.

Sara Chaney’s poetry is paired with Susan Barnett’s images. Susan’s images are often based on a set of arbitrary rules she gives herself and a limited number of shapes and colors.  In Topkapi Diptych, (2007, acrylic on canvas, 60”x120”) she extended a fragment found in the Topkapi scrolls (circa 1400s) utilizing math and the symmetry of the existing pattern, and then abstracted the image in the second panel.  InSwimming Upstream, (2011, gouache on paper, 30.5”x44”) and Meditation #9,(2011, gouache on paper, 30.5”x44”) she used a portion of a decagon shape and a square to create the illusion of fish swimming underwater.  I Follow the Rules…Until I Just Can’t Take It Anymore, (2011, gouache on paper, 26”x42”) works with a circle divided into a pie chart and a limited palette to create a sense of transparency.  More of Susan’s work can be seen here: www.susanbarnett.net   or contact Conduit Gallery, www.conduitgallery.com
Sara Barnett’s poems and flash fictions have recently appeared (or will soon appear) in Word Riot, PANK, SunDog Lit, Dr. T.J. Eckleburg Review, Menacing Hedge, Whiskeypaper, and other places. You can catch up with Sara at her blog: sarabiggschaney.blogspot.com.

Stephanie Glazier’s poetry is paired with Lynda Ray’s images. Lynda’s paintings are containers of time. The tiers of color, viewed through layers of patterns, reveal traces of previous stages compressed like a double exposure photograph. Lynda says “I respect the process of discovery and beauty of the materials as my work continues to parallel my life.” The featured images are: Rolling Intervals (drawing on frottage andchine colle´on panel), RedSalt (mixed media), Outflow (Encaustic), and Watershed (Encaustic). More of Lynda’s work can be seen here: www.lyndarayart.com and here: http://geoform.net/interviews/an-interview-with-artist-lynda-ray/
More of Stephanie Glazier’s poems appear or are forthcoming in the Iraq Literary Review, Alaska Quarterly Review, Calyx, Lunch Ticket and others.


Before she was an artist, Susan Barnett was an Executive Vice President for the American Heart Association.

Sara Biggs Chaney is deathly afraid of thunderstorms.

At age seven, Angele Ellis experienced hysterical paralysis from a bee sting, influenced by an item she had read in a medical column in her local newspaper.

Stephanie Glazier is planning a trip to the world’s great libraries.

Lynda Ray once rescued a bear cub caught in a trap while mama bear and her triplet siblings watched in the distance.

dividelineAngele Ellis

featuring images by

Stephenie Foster


text © copyright Angele Ellis and images © copyright Stephanie Foster

 dividelineSara Chaney

featuring images by

Susan Barnett


text © copyright Sara Chaney and images © copyright Susan Barnett, 2014. Photos by Bill Barnett


Stephanie Glazier

featuring images by

Lynda Ray


text © copyright Stephanie Glazier and images © copyright Lynda Ray

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