Fine art print collaborations

Print collaborations are commonly composed of a printer and an artist working in tamdem to produce a limited run of hand editioned prints as original art works. The artist brings there creative practice as a means of making marks on the stone or plate, and the printer brings technical skill in editioning and a guiding hand to facilitate the artists visions as they learn color seprations, registration, drafting techniques and all of the additional facets of the printmaking process.

The following prints are a selection of Armstrongs collaboration with various artists.

Joshua Flint is a visual artist utilizing oil paint to create archetypes and environments found in the Anthropocene. In his paintings imaginary figures protect gardens, become avian habitats, as well as pollinate flowers. Architectural spaces synthesize interior and exterior elements symbolic of the intricacies of the occupants. His paintings explore the historical role and trajectory of the natural sciences, of connection and disconnection, of spirit and matter, of fracture and formation.

Driven by academic pursuits into forestry and wildlife ecology before turning his attention to art, Flint found that the sciences didn’t fully engage with questions he had about identity, memory and history. His work draws inspiration from literature, poetry, philosophy, science, and nature writing. Themes arise through research into eco-psychology and cultural mythology as well as reflection of personal experience.

Eric J. Garcia blends history, contemporary themes and a graphic style to create politically charged art that reaches beyond aesthetics. Using installations, murals, hand printed posters and his controversial political cartoons, he aims to challenge his viewers to question sources of power and the whitewashing of history. Born and raised in Burque’s South Valley, Garcia received his BFA with a minor in Chicano studies from the University of New Mexico, then went on to receive his MFA at the School of the Art Institute of Chicago. He is a core member of the printmaking collective, Instituto Gráfico de Chicago and a new member of the Justseeds Cooperative.

Szu-Han Ho’s work in performance, sound, and installation explores the relationship between bodies and sites of memory. She often works collaboratively, through collective action, structured improvisation, and group composition. Recent projects include “MIGRANT SONGS,” a choral performance art piece incorporating stories and songs of human and nonhuman migration; “BORDER TO BAGHDAD,” an exchange between artists from the US-Mexico border and Baghdad, Iraq; and “Shelter in Place,” a sculptural installation and performance inspired by her family’s history in Taiwan.

Szu-Han lives and works in Tiwa Territory (Albuquerque, NM) and is a founding member of the fronteristxs collective. She is currently an associate professor in Art & Ecology in the Department of Art at the University of New Mexico.

Ranran Fan is an artist currently based in the US, working primarily in photography, installation and performance. Ranran earned a BFA from School of the Art Institute of Chicago, a BS in Biology in Hong Kong, and is pursuing a MFA at the University of New Mexico Studio Art. Her work has been exhibited internationally including Academy Art Museum, SITE Santa Fe, Santa Fe Art Institute, OCT Contemporary Art Terminal (China), and Incheon Marine Asia Photography and Video Festival. Ranran has been nominated as a SITE Scholar at SITE Santa Fe (2020). She received several awards including Student Award for Innovations in Imaging at Society for Photographic Education (U.S., 2019), and the Shiseido Photographer Prize at Three Shadows Photography Art Centre (China, 2018).

Mikayla Patton (Oglala Lakota) is a multidisciplinary visual artist whose creative work intimately engages materials such as recycled handmade paper, porcupine quills, glass beads, and natural elements to create sculptural objects and installations. Through her studio practice, Patton employs Lakota methodologies and adornment practices to explore themes of healing, growth, and renewal.

Patton holds a BFA in Studio Arts from the Institute of American Indian Arts and is based in Pennsylvania. She has exhibited her work nationally at venues including Chiaroscuro Contemporary Art in Santa Fe, Landmark Arts in Lubbock, All My Relations Gallery in Minneapolis, and the Contemporary Arts Center in New Orleans. In 2025, her work will be featured at the Zimmerli Art Museum in New Brunswick, the North Dakota Museum of Art in Grand Forks, and the Al Held Foundation in Boiceville. Her artistic contributions have been recognized in publications such as Hand Papermaking Magazine, First American Art, Pasatiempo, and Forever Magazine.

Patton’s work is included in public collections such as the Denver Art Museum, the Tia Collection, the Atka Lakota Museum, the North Dakota Museum of Art, and The Anderson Museum of Contemporary Art. She is a 2024 Forge Project Fellow and a 2023 Joan Mitchell Fellow. Her studio practice has also been supported by the Ucross Foundation, the Native Arts and Culture Foundation, First Peoples Fund, the Harpo Foundation, the Indian Arts Research Center, the RAiR Foundation, and her community

Kerry Cottle is a visual artist who received her MFA in Painting and Drawing at The University of New Mexico. Her work is an ongoing meditation on abstraction and color theory as a method to symbolically consider, restore, and gently subvert flawed value systems.

"The mingling of the material quality of oil paint and the visual language of line, grid, color, and shift, leads to moments of divergence from the order that otherwise grounds these works. This suggests that the inclination for control or order is oftentimes met with a desire for fluidity or elasticity. The use of color also goes to support this want for softening in an otherwise hard-edged or sharp environment: the rainbow implies a sense of unending circularity that spirals inward and outward, providing depth and breadth and the ability to span the fullness of the allotted space: in this case, within the square’s edges."

– Kerry Cottle

Marie Alarcón is an experimental video artist trained in documentary filmmaking. She has a B.A. in Non-Fiction Filmmaking and Post Colonial Studies from The Evergreen State College, Olympia, WA, and a Masters of Fine Arts with a Certificate in Time Based Media, from the University of Pennsylvania, School of Art and Design. Alarcón has worked as a community media educator and producer since 2006. They draws on personal and communal experiences of disenfranchisement to look at hidden histories through the lens of environment and is informed by place and its production and the speculative cultural memory of displacement and diaspora. Their expansive, process oriented practice often includes collaboration with dancers and musicians and bridges the poetic, the performative, and the journalistic through installation, new media technologies, and assemblage/collage. Alarcon has shown work and held residencies internationally, and is currently in Residence at Roswell AiR (2021-22), and a 2020 recipient of the Independence Media Foundation Filmmaking Grant for a new experimental fiction film to be produced Spring 2022.

Born in rural North Carolina in 1974, artist Corn Wagon Thunder credits her Southern upbringing as influential to her approach to art making. As is so often the case, she had to leave her home before she could see its influence. At age eighteen, Corn high-tailed it to Boston, Massachusetts, where she picked up a little bit of Yankee sass and received her Bachelor of Fine Arts from the School of the Museum of Fine Arts, Boston, in conjunction with Tufts University. After enduring a few too many New England winters, Corn returned to her North Carolina home with her tail tucked. It was this return that fueled her investigation into what it means to be from the South. During this time, Corn studied at Penland School of Craft in North Carolina—where she learned to wield a camera. Doors opened for Corn, and she decided to walk through one, which led her to the Southwest in pursuit of a Master of Fine Arts at the University of New Mexico. She also found love in New Mexico and is happily ensconced in off-grid life high on a mesa top with her partner Kai.

This work was made through an artist-to-artist collaboration between Japanese American artist Sarah Fukamie and Austin Armstrong. In this piece, both worked as creative artists and as editioning printers, procuring a work that represented both artistic marks.

Sarah Fukami was born and works in Denver, Colorado and received her BFA with distinction from the University of Denver in 2014. She has completed residencies at RedLine and PlatteForum and collaborated with the Denver Art Museum and The Children’s Museum.

Her artwork focuses on the development and evolution of identity, particularly in relation to the immigrant experience. Her Japanese family was interned during WWII, and her art is ultimately rooted in social justice. Most recently, she has become interested in the dissemination of history by searching through national archives, investigating unknown stories from records and photographs.