3200 W. CARROLL
CHICAGO, IL
CHICAGO, IL
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Both/And: a queer archive of belonging
11/15/25-1/23/26 at Boundary in Chicago, Illinois
Untitled (Introductions)
14” x 4” x 36”, 2018-2023, painting of farmhouse, synthetic rope
Painting of Corbin/Schenck family farmhouse by artist “S. NOE” commissioned by Rose (Schenck) Nelson, Great Aunt to the artist, in the 1970’s and gifted to the artist by Bonnie Bell (Taylor) Schenck, paternal grandmother to the artist, in 2020.Rope gifted to the artist by Victoria Ahmadizadeh Melendez in 2018. Painting and rope arranged in 2023.
14” x 4” x 36”, 2018-2023, painting of farmhouse, synthetic rope
Painting of Corbin/Schenck family farmhouse by artist “S. NOE” commissioned by Rose (Schenck) Nelson, Great Aunt to the artist, in the 1970’s and gifted to the artist by Bonnie Bell (Taylor) Schenck, paternal grandmother to the artist, in 2020.Rope gifted to the artist by Victoria Ahmadizadeh Melendez in 2018. Painting and rope arranged in 2023.
Statement of Intent:
This exhibition proposed a model of exhibition-making rooted in community, transparency, and the refusal of rigid definitions. By foregrounding the histories of objects, various mediums, and the interconnected labor of artists and friends, this body of work challenges inherited structures and offers an alternative; one that builds trust, embraces complexity, and makes space for histories often excluded by institutional frameworks.
This exhibition proposed a model of exhibition-making rooted in community, transparency, and the refusal of rigid definitions. By foregrounding the histories of objects, various mediums, and the interconnected labor of artists and friends, this body of work challenges inherited structures and offers an alternative; one that builds trust, embraces complexity, and makes space for histories often excluded by institutional frameworks.
Exhibition Announcement 1, Stabillo pencil on newsprint, 11”x17”, 2025, Objects pictured in drawing are part of the growing archive presented in this exhibition. Subjects in the drawing include a memorial concrete casting of my pet rat Thimble’s feet, and a used bar of soap from a hotel in Brooklyn, NY.
Exhibition Announcement 2, Stabillo pencil on newsprint, 11”x17”, 2025, Objects pictured in drawing are part of the growing archive presented in this exhibition. Subjects in the drawing include a sculpture titled, “Implied Alpha.” The glass form at the top of the piece was made in collaboration with Danielle Brensinger and Andy Lawrence.
Photographs by M. Carson Day
Press Release
Both/And: A queer archive of belonging Both/And: a queer archive of belonging is an exhibition that reimagines how contemporary art can encapsulate authorship, collaboration, and community. This body of work challenges rigid definitions of artist, curator, archivist, and critic—roles historically designed to separate and classify rather than connect. By resisting essentialist boundaries between media, makers, or histories, this exhibition embraces a structure of togetherness: an evolving curio cabinet of belonging.
Each piece in the exhibition is treated as a living object rooted in the time and space from which it was created or acquired. A sculpture contains the dirt from the place it was made; drawings rest on the surface of recycled newsprint from a shared printshop; a title acknowledges a lineage of mentors throughout art history. Here, every gesture is relational, every material, a form of gratitude. No object exists outside of history, retaining an autonomous identity asking to be acknowledged.
To be queer, in this exhibition, is to exist simultaneously—to hold multiple truths, to insist on presence even in the face of erasure. Queerness here is not a category but a methodology: a practice of love, endurance, and archival urgency. It is the act of building community faster than isolation can take hold, of documenting tenderness before it disappears.
Both/And asks what happens when we refuse the art world’s inherited hierarchies? When we no longer accept “solo” and “group” as isolated classifications or restrict work based on the year it was “made” or argue over the validity of craft over/under concept. What if innovation were not measured by individualistic gain, but by the fruits of interconnection and community? What new structures might we build if we begin from a place of belonging, from generosity over capital, from shared history over self-ownership?
This exhibition is both and neither: a constellation of beloved objects gathered through community and arranged for further connection. It is a living archive of queer persistence and a space for trust, reciprocity, and care.
H Marsh Schenck
Both/And: A queer archive of belonging Both/And: a queer archive of belonging is an exhibition that reimagines how contemporary art can encapsulate authorship, collaboration, and community. This body of work challenges rigid definitions of artist, curator, archivist, and critic—roles historically designed to separate and classify rather than connect. By resisting essentialist boundaries between media, makers, or histories, this exhibition embraces a structure of togetherness: an evolving curio cabinet of belonging.
Each piece in the exhibition is treated as a living object rooted in the time and space from which it was created or acquired. A sculpture contains the dirt from the place it was made; drawings rest on the surface of recycled newsprint from a shared printshop; a title acknowledges a lineage of mentors throughout art history. Here, every gesture is relational, every material, a form of gratitude. No object exists outside of history, retaining an autonomous identity asking to be acknowledged.
To be queer, in this exhibition, is to exist simultaneously—to hold multiple truths, to insist on presence even in the face of erasure. Queerness here is not a category but a methodology: a practice of love, endurance, and archival urgency. It is the act of building community faster than isolation can take hold, of documenting tenderness before it disappears.
Both/And asks what happens when we refuse the art world’s inherited hierarchies? When we no longer accept “solo” and “group” as isolated classifications or restrict work based on the year it was “made” or argue over the validity of craft over/under concept. What if innovation were not measured by individualistic gain, but by the fruits of interconnection and community? What new structures might we build if we begin from a place of belonging, from generosity over capital, from shared history over self-ownership?
This exhibition is both and neither: a constellation of beloved objects gathered through community and arranged for further connection. It is a living archive of queer persistence and a space for trust, reciprocity, and care.
H Marsh Schenck
Untitled (Introductions)14” x 4” x 36”, 2018-2023, painting of farmhouse, rope
Synthetic rope gifted to the artist by Victoria Ahmadizadeh Melendez in 2018. Painting of Schenck family farmhouse by artist “S. NOE” gifted to the artist by paternal grandmother in 2020. Painting and rope arranged in 2023.
Synthetic rope gifted to the artist by Victoria Ahmadizadeh Melendez in 2018. Painting of Schenck family farmhouse by artist “S. NOE” gifted to the artist by paternal grandmother in 2020. Painting and rope arranged in 2023.
Untitled (What It Feels Like to Be an American / Stars hiding in the Clouds)16” x .5” x 20”, 2022-2025, oil, powdered garnet, glass optical beads
Salvaged pre-stretched canvas, 2022. Powdered garnet sourced from waterjet waste in 2023; glass optical beads from roadway materials gifted by Dutes Miller in 2023. Painting made in 2025.
Salvaged pre-stretched canvas, 2022. Powdered garnet sourced from waterjet waste in 2023; glass optical beads from roadway materials gifted by Dutes Miller in 2023. Painting made in 2025.
Untitled (PUSH)
9” x 1.25” x 12”, 2018–2024, glow-in-the-dark paint, fused glass, found objects, epoxy
Horse figurine found in Texas parking lot (approx. 2014). Stretched canvas with glow in the dark paint - gifted by Su-yeon Kim and Ally Burch- made in 2018. Fused glass sheet fabricated by and in collaboration with Liesl Schubel at UrbanGlass, 2020. Metallic “PUSH” sticker purchased in Spring Green, Wisconsin at an ACE hardware in 2022. Materials were first constructed with a post and exhibited as a sign for Mayfied Art Space’s exhibition “Yawn-Sign” curated by Alberto Aguilar, Dec 2024–2025. The post was removed to be shown as a painting for this exhibition in 2025.
9” x 1.25” x 12”, 2018–2024, glow-in-the-dark paint, fused glass, found objects, epoxy
Horse figurine found in Texas parking lot (approx. 2014). Stretched canvas with glow in the dark paint - gifted by Su-yeon Kim and Ally Burch- made in 2018. Fused glass sheet fabricated by and in collaboration with Liesl Schubel at UrbanGlass, 2020. Metallic “PUSH” sticker purchased in Spring Green, Wisconsin at an ACE hardware in 2022. Materials were first constructed with a post and exhibited as a sign for Mayfied Art Space’s exhibition “Yawn-Sign” curated by Alberto Aguilar, Dec 2024–2025. The post was removed to be shown as a painting for this exhibition in 2025.
Untitled (dead plant and mushroom study)9” x 1.5” x 12”, 2018–2021, mixed media on repurposed tablecloth
Tablecloth from Stanwood, Washington Goodwill purchased in 2018, soaked with mushrooms collected at Pilchuck Glass School. Dead plant drawing with Stabillow “All” pencil added in 2021.
Untitled (Banana Dancer)45” x 8” x 64”, 2015–2025, dried banana peel, wire, spray-painted poplar and plywood
Black frame fabricated 2015. It was exhibited as a frame for a photograph of a cat named Maxwell, in “Tell Me I Look Handsome” with Deep Ellum Windows in 2015. Shown again in a different context, the frame acted as a painting, with a spotlight lamp directed at the center, exhibited in a faculty/staff show at Mountain View Community College in 2017. The painting was shown again in a different context alongside works curated by Haley Fowler at the Moncrief Cancer Institute in 2018. In 2019, while walking home from my job at Emerald City coffee, I took home a dried banana peel I found thrown on a bush. The peel was dried in the shape of a running man. In 2020, I began making my own “running” or “dancing” banana peels. In 2022, I constructed a clock of banana dancers. I then took one of the dancing banana peels and suspended it with wire on the painting in 2024. Exhibited for the first time in its current state, 2025.
Black frame fabricated 2015. It was exhibited as a frame for a photograph of a cat named Maxwell, in “Tell Me I Look Handsome” with Deep Ellum Windows in 2015. Shown again in a different context, the frame acted as a painting, with a spotlight lamp directed at the center, exhibited in a faculty/staff show at Mountain View Community College in 2017. The painting was shown again in a different context alongside works curated by Haley Fowler at the Moncrief Cancer Institute in 2018. In 2019, while walking home from my job at Emerald City coffee, I took home a dried banana peel I found thrown on a bush. The peel was dried in the shape of a running man. In 2020, I began making my own “running” or “dancing” banana peels. In 2022, I constructed a clock of banana dancers. I then took one of the dancing banana peels and suspended it with wire on the painting in 2024. Exhibited for the first time in its current state, 2025.
Bonnie’s Flowers
30” x 1.5” x 40”, 2021–2025, oil pastel, acrylic paint, spray paint, found canvas
Camo spray paint gifted by Joan Giroux in 2021. White canvas with thick purple stripes salvaged from dumpster at 3200 W Carroll in 2022. Inspired by a camouflage Napa hat gifted by Bonnie Bell Schenck, the artist’s paternal grandmother, in 2023. Bonnie loves sunflowers.
30” x 1.5” x 40”, 2021–2025, oil pastel, acrylic paint, spray paint, found canvas
Camo spray paint gifted by Joan Giroux in 2021. White canvas with thick purple stripes salvaged from dumpster at 3200 W Carroll in 2022. Inspired by a camouflage Napa hat gifted by Bonnie Bell Schenck, the artist’s paternal grandmother, in 2023. Bonnie loves sunflowers.
Untitled (figurative artifact and commemorative plate)15” x 1.75” x 14”, 2023–2025, ceramic with underglaze pencilPlate form created in 2022 at Gnareware Workshop in Ike Floor’s handbuilding class. International Harvester logo drawn in winter 2023–2024 and fired at Columbia College Chicago. Made in reference to the artist’s family International Harvester tractor.
Implied Alpha
10” x 11” x52”, 2015–2025, glass, rubber tarp straps, found pedestal
Oak pedestal purchased at Stanwood, WA Goodwill for $5 in 2018. Blown glass gaffed and made in collaboration with Danielle Brensinger and Andy Lawrence at Pilchuck Glass School in 2019. Work traveled WA → Chicago (Amtrak), Chicago → Dallas (car), Dallas → Chicago (truck). Rubber tarp straps originally from the artist’s grandfather’s machine shed → father's basement in Canton, IL → artist’s Ford Ranger until 2015 → attached to pedestal in 2018 → used for this piece. Present composition composed in 2021 and shown at Urban Glass, Brooklyn, NYC.
10” x 11” x52”, 2015–2025, glass, rubber tarp straps, found pedestal
Oak pedestal purchased at Stanwood, WA Goodwill for $5 in 2018. Blown glass gaffed and made in collaboration with Danielle Brensinger and Andy Lawrence at Pilchuck Glass School in 2019. Work traveled WA → Chicago (Amtrak), Chicago → Dallas (car), Dallas → Chicago (truck). Rubber tarp straps originally from the artist’s grandfather’s machine shed → father's basement in Canton, IL → artist’s Ford Ranger until 2015 → attached to pedestal in 2018 → used for this piece. Present composition composed in 2021 and shown at Urban Glass, Brooklyn, NYC.
Ceramic trash-can-lid skirt made from excess clay cut from casting a trash can lid in 2023. Fabric scrap donated to Columbia College Chicago, stretched on fabricated stretcher bars in 2024. Present composition composed in 2025.
Punching bag salvaged in 2012 from the back yard of an abandoned house. Brass frame purchased at Texas Flea Market in 2016. Bag and frame were composed in 2020. Clamp gifted by the artist’s uncle was added in 2022.
Untitled (assembled gifts)34” x 13” x 30”, 2016–2025, cast glass, birch branches, plywood box, litho stone, sugar lamb head, painted Triscuit box with zip tieLithography stone gifted by Gail Fehrmann, artist’s mother, in 2016. Cast glass orange was made at Pilchuck Glass School in 2018. Sugar lamb’s head salvaged from Easter celebration in 2022. Triscuit box with zip tie was a birthday gift from Nick Manske, the artist’s brother-in-law, in 2023 and painted by the artist in the same year. Wooden box was salvaged from the artist’s studio building’s dumpster in 2024. Objects assembled in their current state in 2025.
Work IV
9” x 1” x 12”, 2018–2025, float glass, clock form, wood frame.
A pre-fab clock face was sandwiched between two sheets of broken 3/8” float glass in 2018. The wooden frame was built in 2021. Work IV was first exhibited in the solo exhibition “New Introductions: H Marsh Schenck” at Urban Glass in 2021. The glass broke again in 2024. New exhibition context in 2025.
Untitled (boothorn on log)11” x 7” x 20”, 2015–2023, oak and pine boot horn, wooden log
Oak boot horn fabricated by the artist in 2015. The wooden log was collected in Spring Green, Wisconsin in 2022. Objects were arranged together in 2023.
Untitled (paper cabinet)10” x 4” x 65.5”, 2017–2024, painted paper cabinet”
Salvaged file cabinet from the University of Texas Arlington Printshop in 2015. Painted Lime Green and Red for utility in 2017 and 2020. The cabinet was turned into sculpture when it was painted Mauve to Sky Blue in 2024, referencing the cover art of Spectacular Spider-Man Issue #1.
Untitled (queer curio)
58” x 11” x 78, 2016–2025, mixed media assemblage
Lamp from Aunt George’s garage, acquired in 2020. Cabinet built by a family member using lumber from an old barn, inherited in 2025. The cabinet lived on the Schenck farmhouse porch as a shoe cabinet, until the farm was sold. → cabinet moved to town and used decoratively in Bonnie and Junior Schenck’s home , H Marsh’s grandmother’s house in town (decorative cabinet), 2010 → parent’s house in Canton, IL, 2014, → Present composition composed in 2025.
Queer curio: Untitled (ceramic wire cutter study) LEFT
2023, ceramic
Made at Gnarware Workshop in Ike Floor’s class.
Queer curio: Untitled (glass teardrop on oak) RIGHT
2020–2025, blown glass, oak
Glass teardrop blown by and in collaboration with Liesl Schubel, 2023. Found oak scrap, Columbia College Chicago in 2020. Present composition in 2025.
Queer curio: Untitled (ceramic bowl | pinch pot sphere exercise) LEFT2023, ceramic
Made at Gnarware Workshop in Ike Floor's handbuilding class.
Queer curio: Untitled (wrinkled egg) MIDDLE
pre 2016–2024, found object
Wrinkled egg collected from Emerald City Coffee Chicago, in 2019. In 2020, the egg was placed inside of the glass cloche (acquired pre 2016). In 2024, dried paint from a rusty gallon paint can was salvaged from Columbia College Chicago.
Queer curio: Untitled (metal lathe fabricated screwdriver) RIGHT
2022, steel
Made by Dean Lewis, artist’s maternal grandfather. Gifted to the artist by his uncle, Steven D. Lewis in 2022.
Queer curio: Untitled (fused marbles) LEFT
2018, glass
Glass Marbles (1998) from artist’s childhood, fused at Pilchuck Glass School in 2018. Kiln program written by Ally Burch and Suyeon Kim.
Queer curio: Untitled (PLA corn, glass potato, picture album)
RIGHT2016-2025, PLA
3D printed corn at Pilchuck Glass School by Christian Oiticica in 2016. Blown glass potato filled with dirt from under the Pilchuck Glass School printshop, gaffed by and made in collaboration with Nick Clawson in 2018. Picture album purchased from the Wasteshed in 2023. Current composition arranged in 2025.
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Queer curio: Untitled (candle holders)
2018-2025, acrylic, wax candles, rock, brass
Small white candle and rubber band from artist’s birthday in 2018. Used bar of soap from New York hotel room, 2021. Acrylic scrap purchased at The Wasteshed in 2023. Large white candle and rock with hole, origin unknown. Brass grill fabricated with a waterject at Columbia College in 2022.
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Queer curio: Untitled (Rusted Bolt)
2023, steel bolt
Found at Lake Michigan and sandblasted in 2023.
Queer curio: Untitled (footprints)
2013, stoneware
Impression of artist’s pet rat’s feet from a pet memento gift from Hannah Hudson Sayer.
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Queer curio: Untitled (ceramic flag) LEFT
2023, ceramic Made at Gnarware Workshop in Ike Floor’s “Nerikomi” class.
Queer curio: Untitled (apple study) RIGHT
2017–2025, ball clay, Texas dirt, acrylic paint.
Fabricated as a whole apple in 2017. In 2018, teeth marks were chiseled into the apple and it was shown in the exhibition “Runaway Boy,” at Eastfield College. Scrap wood was collected from Columbia College in 2023. In 2025, the apple was placed on the piece of wood.
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Queer curio: Untitled (glass and wood study) LEFT
2022–2023, hot-blown glass on wood
Glass poured on metal form in collaboration with Liesl Schubel at Ox-Bow School of Art in 2023. Oak from discarded pallet collected in 2022.
Queer curio: Untitled (black glass with dirt impression) MIDDLE
2023, glass
Fabricated by and in collaboration with Liesl Schubel at Ox-Bow.
Queer curio: Untitled (glass furnace waste and marble) RIGHT
1998-2023, glass
Furnace detritus from Pilchuck Glass School (2018) and a marble from the artist’s childhood collection.
3D printed corn at Pilchuck Glass School by Christian Oiticica in 2016. Blown glass potato filled with dirt from under the Pilchuck Glass School printshop, gaffed by and made in collaboration with Nick Clawson in 2018. Picture album purchased from the Wasteshed in 2023. Current composition arranged in 2025.
Queer curio: Untitled (candle holders) 2018-2025, acrylic, wax candles, rock, brass
Small white candle and rubber band from artist’s birthday in 2018. Used bar of soap from New York hotel room, 2021. Acrylic scrap purchased at The Wasteshed in 2023. Large white candle and rock with hole, origin unknown. Brass grill fabricated with a waterject at Columbia College in 2022.
Queer curio: Untitled (Rusted Bolt)
2023, steel bolt
Found at Lake Michigan and sandblasted in 2023.
Queer curio: Untitled (footprints)
2013, stoneware
Impression of artist’s pet rat’s feet from a pet memento gift from Hannah Hudson Sayer.
Queer curio: Untitled (ceramic flag) LEFT
2023, ceramic Made at Gnarware Workshop in Ike Floor’s “Nerikomi” class.Queer curio: Untitled (apple study) RIGHT
2017–2025, ball clay, Texas dirt, acrylic paint.
Fabricated as a whole apple in 2017. In 2018, teeth marks were chiseled into the apple and it was shown in the exhibition “Runaway Boy,” at Eastfield College. Scrap wood was collected from Columbia College in 2023. In 2025, the apple was placed on the piece of wood.
Queer curio: Untitled (glass and wood study) LEFT
2022–2023, hot-blown glass on wood
Glass poured on metal form in collaboration with Liesl Schubel at Ox-Bow School of Art in 2023. Oak from discarded pallet collected in 2022.
Queer curio: Untitled (black glass with dirt impression) MIDDLE
2023, glass
Fabricated by and in collaboration with Liesl Schubel at Ox-Bow.
Queer curio: Untitled (glass furnace waste and marble) RIGHT
1998-2023, glass
Furnace detritus from Pilchuck Glass School (2018) and a marble from the artist’s childhood collection.
Queer curio: Untitled (glass tear drop) LEFT2023, glass
Fabricated by and in collaboration with Liesl Schubel at Ox-Bow School of Art.
Queer curio: Untitled (mud brick and aluminum flashing) RIGHT 2016-2023, mud, aluminum
Texas mud brick made in 2016 with Cassie Phan. Aluminum flashing from an aluminum pour hosted by Comfort Station in 2023.
Queer curio: Untitled (slab and finger study) LEFT2022, ceramicMade at Gnareware Workshop during workshop led by Dove Hornbuckle.
Queer curio: Untitled (glass can) RIGHT
2018-2024, glass, found soup can, material sample
Found unmarked glass cane, cast into a used soup can in 2018. Stoneware material sample collected from the Wasteshed in 2022. Two objects placed together in 2024.
Queer curio: Untitled (candle holder)1990’s-2023, ceramic, wax candle, banana buttonBanana shaped button purchased and gifted to the artist from their maternal grandmother sometime in the 1990’s. Wax candle from the artist’s aunt George, collected in 2021. Ceramic form sculpted in 2022. Objects arranged in 2023.
Queer curio: Untitled (clay bricks)2020-2021, clay, acrylicClay bricks sculpted in 2020. Acrylic pieces harvested from failed sneeze guard designs, also in 2020. Bricks were exhibited alongside glass objects in 2021 at Urban Glass.
Queer curio: Untitled (sand mold) LEFT
2024, resin-bonded sandChunk of a resin-bonded sand mold from an iron pour during Manifest 2024 at Columbia College.
Queer curio: Untitled (figurative scope and flower frog) RIGHT 2017-2023, clay, wooden paint brush handle, metal flower frog
Clay form sculpted and placed on wooden handle in 2017. In 2022, a metal flower frog was purchased at an antique store in Iowa. In 2023, the wooden handle was cut to fit the flower frog and assembled.
All newsprint drawings were framed with red oak frames, fabricated by H. Marsh Schenck, reclaiming pallet lumber salvaged from 3200 W. Carroll studio building dumpster.
Implied Alpha Study
12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
Bonnie’s Flowers and NAPA hat Study12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
Century Study
12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
Untitled (figurative artifact and commemorative plate) Study12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
Untitled (cabin and keepsakes) Study
12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
Untitled (paper cabinet) Study
12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
Mentor Study
12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
Untitled (assembled gifts) Study
12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
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12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
Untitled (boot horn on log) Study
12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
12” x 18”, 2025, Stabilo “All 8046” pencil on newsprint Newsprint recycled from Columbia College Chicago printmaking facility.
Photographs by M. Carson Day, H Marsh Schenck, and Meimei Yu