Issue Details, Summer 2015

The summer 2015 cover features Linda Saccoccio’s Puce & Chartreuse After Dylan Thomas, images #1,2, and 3. Linda shared “The impetus for these paintings was from a set of Dylan Thomas readings I had been listening to in my car. He was reciting poems he admired by other poets when he read the word puce. The sound and meaning of this word interested me. Later that day the sunset from my studio window caught my eye, and sure enough, it was in varying shades of puce. It was clear I had to paint a series using puce, and it seemed natural to add chartreuse. These works are the outcome.” More of Linda’s work can be seen at her website

Elizabeth Langemak‘s poetry is paired with Cora Jane Glasser’s images Query (Paper Plane IV), Eve of Construction, Citifield, and Behind the Scenes. Cora’s objective abstract work is inspired by urban construction sites. She uses various mediums and materials (e.g., paint, print-making, paper, hardware) to express presence and absence, solid and void. More of Cora’s work can be seen on her website, More of Elizabeth’s work can be seen on her website,

Stacy Christie’s poetry is paired with Stacey Pritchard’s images Walking Past the Dead, Release in Green and Yellow, Daughters of the Dragon and Fairy, and Wo-Ist-7.  Stacey’s works explore narrative and figurative expressions of time or place and the context of our stories. It is driven primarily through an initial gesture that captures a moment. From that seed, Stacey begins multiple compositions and explores separate layers of images and juxtapositions in each. With this process she mimics the subjectivity, context and repetition of the moment that a gesture can inspire. More of Stacey’s work can be seen on her website,

Stella Radulescu’s poetry is paired with Jill Kirschen’s images You’ve Changed, Night Squall, Contain Yourself, and Silver Chill. Jill’s work combines painting and drawing with found objects, imagery, photo transfers, string, thread,and plastic bags, (to name just a few). She is interested in recontextualzing, subverting, adding and subtracting disparate elements to create new meaning. Her work can be viewed at

Valerie Witte’s poetry is paired with images of Eva Lys Champagne’s pieces A Pleasing Fever, What We Wish (Anagama-fired stoneware and porcelain with high iron volcanic sand inclusion, 2013), The Fine Innuendo, Levity, She Was Heaven/She Cannot Be Heaven (Soda-fired red earthenware, porcelain, wire. 2014), and Spring Preserved (red earthenware and porcelain, 2013). All the anagama-fired pieces were made during Eva’s residency at gaya Ceramic Art Center in Ubud, Bali. Spring preserved was made during the insane winter of 2013-14 she spent in the U.P. in marquette, MI on the shores of Lake Superior.
She Was Heaven/She cannot Be Heaven was made in Missoula Montana at Eva’s studio on the Bitterroot River during the fabulous summer after that seemingly interminable cold winter. More of Eva’s work can be seen at her website

Vanessa Couto Johnson’s poetry is paired with images of Casey Whittier’s works The Weight of Translation, Burden Bearer, Arrangement from the Prairie (detail),Untitled 2015 (from her small work series), and Reflecting Pools.  The elements in Casey’s work are culled from her surroundings (wildflowers, cicadas, rocks, etc.) and are made primarily through entombing them in porcelain or re-sculpting a likeness. These pieces have a one-to-one relationship: there can be only one ceramic flower for every original flower. Of her work, Casey says “I am often unable to verbalize my deep sense of empathy for the non-human ecosystems that exist at a nearly invisible level in our culture. I understand these things as being ultimately submissive to the same force that determines my own fate: the passing of time.  In this vain, clay serves as palimpsest in my sculptures and installations. The physical recordings that come through rolling, tearing, squishing, dipping, pushing, pinching and scratching become representations of touch, of thought, of time spent.”   You can find more of Casey’s work at

Source texts for Vanessa’s impunderables are Eliza Haywood’s eighteenth-century novel, Love in Excess; or, the Fatal Enquiry; David Feldman’s Life’s Imponderables: The Answers to Civilization’s Most Perplexing Questions; and the Reader’s Digest Oxford Complete Wordfinder.

Lizi Gilad’s poetry is paired with images of Jo Braun’s art panels Portals No. 2 (details here), Rusted Prayers (details here), Rai Stones (details here),  Mithraeum (details here), and Threadscape No .2 (details here) More of Jo’s work can be seen at her website

Summer 2015 bios:

Jo Braun brought Judy Blume’s Forever to her fundamentalist Christian school, passed it among her seventh grade peers, and didn’t get caught.

As for Eva Lys Champagne, Eggplant is her game.

Stacy Christie Thinks Bjork is made of sunbeams and dreams.

Vanessa Couto Johnson, as a fumbling undergraduate freshman in an organic chemistry lab in fall 2006, had a hallucination/vision (let’s say something more vivid than a daydream) of becoming an English professor, which bestowed upon her an immediate sense of peace.

When Lizi Gilad was 17, she worked in a carrot factory.

Cora Jane Glasser used to jump-start her old VW bus by rolling it downhill, backwards, while wearing high heels.

In a former life, Jill Kirschen Dj’d the cast party for Saturday Night Live for several years in a row.

Elizabeth Langemak’s first word was “fries.”

Stacey Pritchard tried to convince people that her name was Andy when she was 9 1/2.

When she was about ten years old, Stella Radulescu stole a poem from an older poet-friend and told her father that she wrote it. He kept this poem in his wallet until he died telling people that his daughter is a poet. ( It was unusual and even dangerous to be an “undeclared” poet under the Romanian communist regime). She says “I hope he is watching me now…”

Linda Saccoccio has a fear of heights, the discomfort of vertigo, but if she had wings, she is sure she would love the sensation of stepping off the corner of the top of a building. She also shares a birthday with Leo Tolstoy.

In her spare time, Valerie Witte does taiko drumming in San Francisco.

Casey Whittier is a stray dog magnet: Her return-to-owner percentage is currently 100%.




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