I hate to admit that I am essentially stuck in the 1980s when I saw my first artists’ books at Printed Matter below Canal Street in Manhattan. It was thought that artists’ books might become an inexpensive way to make art more accessible. Although most of my books don’t end up being inexpensive, my intention for my books is that they be produced inexpensively.

Each of my books has had its’ own process to which I have had to conform. As much as I try to control that process, the Transforming Hate book taught me, as no previous book had, that I am the book’s servant not its’ master. I ended up feeling like I had been recruited to come along for the ride.

Below begins sketches of the project’s beginning:

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It had not been my intent to make a “grand” project, but to simply create an artist’s book that explored the struggle to make an artwork that might transform the white supremacist books that had been provided to me to work from.

After the book, The Proposal,  was accepted by Radius Books  for publication, I found I needed to raise money for its production. I then began my education in fund raising.  It would have been much simpler if I had done a “Kickstarter” promotion. Working alone here in Asheville, NC and creating an adequate donor base to get a campaign off the ground that would succeed within six to eight weeks seemed impossible.

Additionally, I wanted to expand the vision beyond the publication of the book by creating an installation around the concept of transformation. Despite not having an idea of how I would do that, I chose Artspire as the conduit through which to raise money for the project (including the book publication) because it allowed me time and space for working on the project.

The question became “how to express this bigger vision to others?” I knew it was important to start with myself, to create my own narratives of transformation and to meditate on and explore feelings of anger and fear and rage within myself.

While preparing images of my work for the new website, I revisited my “Witness Project,” an earlier installation begun in Washington, D.C.  and was surprised how close to the “Transforming Hate” project it seemed to be. “The Witness Project,” was about reflecting on a time—on a period in our lives—and asking the viewer if they would share that with me, the artist. I never expected the depth of emotions, of the feelings expressed in those responses. But, with “Transforming Hate,” I would like to go beyond reflection, to create an installation that will take us to another level. It sounds impossible. It seems impossible. But that is my intention.

To make a tax-deductible donation visit the link: Artspire Fundraising Page

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Making these two projects was a big shift for me. I had to learn new ways of working, which included quickly becoming more connected with the source materials and documents, creating participatory opportunities with my subjects and learning new mediums and processes as the work progressed. I had included some aspects of these things in my work previously but not with that speed and numbers of people. I am introverted and my work tends to evolve very slowly.  

To make a tax-deductible donation to the Transforming Hate project visit the link: Artspire Fundraising Page

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