After moving to Fukuoka, it took a little while for me to get my aging engine warmed up. Happily, that period seems to be sliding behind with the new year, and I am fully revved and roaring into 2012.

We begin with the 2012 Cut Paper Art Calendar. It began its life as a project on Kickstarter, where it was successfully funded. Printing is finally done, and the first few batches to the Kickstarter backers have all been shipped out. Happily, there are still a limited number of calendars left!

Calendars are available from the shop at US $30 apiece, including shipping. Jump on over and click the red “Buy International” button for everywhere outside Japan. If you want to buy more than one copy, please contact me; maybe I can help you save a little money on shipping! For those of you in Japan, the cost is ¥2500 (shipping included). Just select the “Buy Japan” button.

まだ切絵カレンダーの在庫に余裕があり、1点2,500円（送料込）で販売していますので、お買い求め頂けます！口座振込みでのお支払いをご希望の方は、Eメールでご連絡ください。Paypalでのお支払いをご希望の方は、下記にある赤字の「Buy 日本」ボタンをクリックしてください。

Next up is the 新春クラフトマルシェ / New Year’s Marche Crafts at Seibu Shibuya. This group show of some of my newest art was a last minute addition to the schedule, and I’m afraid that I didn’t have much time to let people know about it. I myself was unable to take the trip north to Tokyo, but one of my good friends snapped a photo of some of my work. You can see it here.

Coming Soon, there’s a bunch of new art that very few people have ever laid eyes on. There’s a very cool interview I had the pleasure to do recently that I can’t wait to share with everyone. Not to mention all of the little, secret projects that are coming together to make 2012 an amazing, art-filled 366 days.

Thus, with no further ado: Pre-Orders for the 2012 Cut Paper Art Calendar are now being taken.

update — The 2012 Cut Paper Art Calendar is now available for purchase. Please check the Calendar Shop for a preview and to order. 2012年切絵カレンダーご購入頂けます！カレンダーのショップからご閲覧・ご購入頂けます。

Of course, for those who backed the campaign; your copy is already being held for you. If this is the first you’ve heard of the calendar tho, there are still a bunch unreserved. Want one? I don’t blame you. Here’s how you reserve a copy or two:

• Hop on over to my contact page.
• Send me an email with your name, email address, and the number of copies you want reserved.
• Wait a bit.
• I’ll email you with payment details when the calendar has been printed.

That’s it. Easy, huh? It looks like the calendar will go for around $30 USD, worldwide shipping included. I was hoping to offer it for less, but the exchange rate isn’t playing nice.

As for the calendar itself, the first draft was sent to the printer two days ago. The first (and, God willing, the last) color proof should arrive tomorrow. I’ll make any corrections necessary to the color, and fix any dumb mistakes I may have made (I haven’t found them yet, but they are surely in there). Then a week or so later, I should have the calendars in my hands. There may be a second color proof in there too. Time will tell.

Until then, enjoy the front and back covers (above), and the March spread below. Those are the right dates, yes?

2012年切絵カレンダーの販売を・・・・いつもと違うやり方で試み中！

本当に販売できるかどうかは皆さんのご協力にかかっています。11月22日までに「キックスターター・ドットコム」という、こちらのサイトから事前注文してください！カレンダーや切絵の魅惑のビデオ説明付き！
☞ 2012年切絵カレンダー販売キャンペーン

「いつもと違うやり方」はどういうことかというと、これまで米国のこちらのサイトからカレンダーを作成・販売していたのですが、今年は日本の地元印刷屋さん（ポストカードの印刷をお願いしている）でカレンダーを作ってもらいたい！と思っているのです。ただ、最小ロットが100部なのです。

キックスターター・ドットコムでは事前に注文してくれる（あるいは、資金を募金してあげようという素敵な）ファンを募り、事前注文の額が一定のレベルに到達できたら、カレンダーやその他作品の実際の印刷にこぎ着ける仕組みになっています。私の場合、世界各地のお客様100人分のカレンダーを印刷しお届けするには少なくとも2,200米ドル（約20万円）必要ですが、それを事前に募りたいのです！11月22日までに2,200米ドル 募れなければ、このプロジェクトは不発に終わります。2,200米ドル以上募ることができれば、事前注文頂いた皆さんから事前にお支払頂き、2012年カレンダーを印刷してお届けします！キックスターター・ドットコムでは、下記のようにカレンダーの事前注文（30米ドル − INOSHISHIカテゴリー）だけでなく、その他販売物の事前注文や、ただの支援金！も受付けています！

1ドル以上

「SARU」 – ウェブサイトで「スペシャルサンクス」でお名前を記載させて頂きます！

10ドル以上

「NIWATORI」 – 切絵ポストカードのセット（5枚入り）＋ウェブサイトで「スペシャルサンクス」
お届け予定日：2012年1月

20ドル以上

「INU」 – 切絵ポストカードのセット（15枚入り）＋ウェブサイトで「スペシャルサンクス」
お届け予定日：2012年1月

30ドル以上

「INOSHISHI 」 – 2012年切絵カレンダーです。12ヶ月分の切絵アートを楽しんでください！
お届け予定日：2011年12月

45ドル以上

「INOSHISHI+INU」 – 2012年切絵カレンダー ＋ 切絵ポストカード（15枚入り）＋ウェブサイトで「スペシャルサンクス」
お届け予定日：2011年12月

55ドル以上

「NEZUMI」 – 2012年切絵カレンダー2部
お届け予定日：2011年12月

70ドル以上

「NEZUMI+INU」 – 2012年切絵カレンダー2部 + 切絵ポストカードのセット（15枚入り）+ ウェブサイトで「スペシャルサンクス」
お届け予定日：2011年12月

75ドル以上

「USHI」 – 2012年切絵カレンダー（スペシャル・アーティスト・エディション − オリジナル・スケッチとサイン入り）この作品のスケッチが欲しい！というご要望があれば教えてください。
お届け予定日：2011年12月

300ドル以上

「TORA」 – 切絵のキャラクターアート原画作品（サイズ：3″ x 3″）＋ 2012年切絵カレンダー（スタンダード）＊カレンダーのお届けは2011年12月ですが、原画作品（フレームなし）は2012年3月を目処に完了次第お送りします。
お届け予定日：2012年3月

500ドル以上

「USAGI」 – 切絵のキャラクター・アート原画作品（サイズ：6″ x 6″）＋ 2012年切絵カレンダー（スタンダード）＊カレンダーのお届けは2011年12月ですが、原画作品（フレームなし）は2012年5月を目処に完了次第お送りします。
お届け予定日： May 2012

1,000ドル以上

「TATSU」 – ご要望のテーマで切絵作品を製作し、お届けします（サイズ：8″ x 10″）＋ 2012年切絵カレンダー（スタンダード）。＊カレンダーのお届けは2011年12月ですが、原画作品（フレームなし）は完了次第お送りします（この切絵作品のみ送料別）。

2012年切絵カレンダーについて − 2012年の干支「辰」をはじめとする、和紙をふんだんに利用した切絵作品12点をお楽しみください！

皆さん、ぜひ、キックスターター・ドットコムを覗いてみてください。2012年の切絵カレンダーを皆さんに送れるようご協力お願いします！

On the other hand, if you think that reading me chattering on about paper and life would enrich your day, then I heartily welcome you to dive in!

Gratifications
First, I need to thank a couple websites for thinking my work was kinda neat, and telling folks about it:
The good folks at Visual News started the lovefest. (Thanks!)
TrendHunter kept it going. (cheers!)
and Neatorama brought it home. (ありがとう!)

Exhortations
No blog posting this month would be complete without a touch of shameless self promotion. If you have somehow escaped my haranguings thus far, your luck has just run out. Hop on over and check out The 2012 Cut Paper Art Calendar campaign (or read about it on PaperCuts).

Confabulations
Now we get to the meat of the matter and suck the marrow of the broken metaphor. Spanish newspaper and website 20minutos.es were gracious enough to interview me. Topics covered include paper, Japan, the groping of artwork, and analog versus digital. Presented in Spanish.

I took 5 years of Spanish in school. Sadly, the moment I jammed a few Japanese words into my noggin, all the Spanish came spilling out. For those of you, like myself, who are liguistically-challenged, I present the questions and answers in their original, unedited maximum verbosity.

At the time, this article was on my mind.

First of all, who is Patrick Gannon? Occupation, date and place of birth, likes and dislikes…
I was born in northern New Jersey in the United States in 1971. For the first couple years of my childhood, I lived n a typical suburban cul-de-sac. When I was in second grade, my family moved to a small farm not so far away. At that time, the area was almost completely undeveloped, and there was nothing but grasslands and forest all around our house. The land backs up onto the enormous Waywayanda State Park, where my brothers and I spent a huge portion of our childhood playing, exploring, and occasionally getting chased by bears and wild dogs (real and imaginary). That smashing together of nature and suburban (and later urban) culture has been a huge influence on me, as has the somewhat solitary country lifestyle.

My primary occupation is as an artist. I specialize in cut-paper art, creating images out of layers of painstakingly cut and arranged colored paper (usually Japanese handmade washi papers, these days). I started off doing illustration with a much simpler style, then gradually segued into gallery work.

I like hiking through the mountains, blue skies, good conversations, books (both intellectual and pulpy), going to museums with my wife, my wife, and discovering new food and new people. I love doing my work. I don’t like… well, honestly I don’t spend much time thinking about things I don’t like. I’m not crazy about earthquakes these days (I was in Tokyo when the Big One hit earlier this year and got shaken up for a few months).

How would you define your work?

I create cut-paper art (some people call it collage, some call it assemblage, in Japanese it is kirie 切絵 which means cut pictures). As a paper cutter, I try to create a dialog between the traditional technique of paper cutting (kirie) and contemporary art and thought; the technique becomes a string connecting the past to the present, and hopefully humanizing complex concepts and abstract ideas.

Thematically, I’m fascinated by the often-violent, often-sublime convergence of humankind, the natural world, and our secret personal mythologies. Relationships form the core of my work; most recently the symbiotic and parasitic alliances and inter-dependencies which spring to life in congested urban environments as well as in our more personal microcosms, along with those most human of needs – acceptance, inclusion, communication.

Why paper? What possibilities does that material offer you?

That’s a great question, because making art from paper, by its nature, defines, and in some ways limits, the final work. Its much harder to get soft edges with paper, as opposed to paints. So why use it? Because I love the textures and the smells, and the hard edges, the patterns of chiyogami, the roughness of the pulp. I like to approach the paper as a kind of found-object art; I alter it as little as possible other than cutting. The shear variety of handmade papers available is astonishing, and the mix of textures and color beautiful. My work builds on top of the craftsmanship that went into creating these papers. The complicated process of puzzling the pieces together, of building layers is a thrilling challenge.

The short answer is that it just feels right. From the very first cut-paper piece I made, the knife felt right in my hand, and the whole process felt more fun and natural to me than any other medium.

Paper is one of the oldest man-made materials, and one of the most versatile. It can be used to build flat or 3-dimensional objects. It can be cut, twisted, folded, bent, and easily manipulated in a thousand different ways. It can be opaque or translucent – I hope to do more work with illuminated art in the future. It can be bold or subtle. For me, I find the limits of paper actually make me more creative in using it.

You live in Japan, but you are from New Jersey. How is that mixture of worlds present in your works?

I think it is in everything. There’s a constant collision of Western and Eastern ways of doing things in my everyday life. My life in Japan has been primarily urban, and the way that interacts with my my rural upbringing is a huge part of what I do. I think most of it happens on a subconscious level; the boldness is probably American, while the more introspective and subtler touches may be from my time over here. I know I’ve incorporated some Japanese design touches into my work – some compositions and the use of negative space – some of that was intentional and some just happened through absorption.

Where do you search for inspiration? Tell me a little bit about your creative process.
I find inspiration everywhere. Some of it comes from other artists, both contemporary and classical, cut-paper and other mediums. Alot of it comes from pop culture like music, movies, books. Many of my ideas come as a reaction to everyday life. Instead of reacting to a specific event though, I try to look at it from the perspective of emotional cause and effect.

Half the time, my work starts off as an idea – sometimes as simple as a single word. Other times, it will start off as a scribble in my sketchbook which is searching for a concept. Both of these get combined and finessed into an image that has a specific meaning to be, but still has enough ambiguity that others can connect with it.

Please, tell me about the technical aspects of your work.

Each piece starts life as a tiny sketch, or group of sketches. I work out the overall composition small, maybe a few inches tall. Details like faces and hands are drawn separately. I scan these images into my computer, enlarge them to the size of the final art, fix the overall composition, combine all the different pieces, and print it out. Then I do a final drawing on tracing paper. This is the step where I work out all of my layers – what goes on top, underneath, can I play with an illusion of depth.

The next step is the most fun and the most challenging. Picking the papers. I try to start with one foundation sheet – the color and texture of this page will determine the emotional content of the whole piece. I’ll try to get all the important colors chosen before I cut anything.

After that, I start transferring the image bit-by-bit to the back of the chosen papers. And I cut. I lay the finished pieces down in their respective layers as I go. I’m always re-evaluating the overall piece, making sure everything works together. I try to leave myself open to changing a layer or a color as the piece evolves. The least fun part is the gluing.

Do you feel strange creating in a totally analogic way in a world ruled by digital processes?

I adore my computer. It would be impossible to do my work without it- especially keeping up with current events, new techniques, clients and the art world all over the globe. Having said that, it is a relief to step away from the digital into the analog. We are analog creatures. Our hands want to touch, feel, and manipulate. I try to create art that people want to touch (but please don’t!). Cutting feels meditative.

Its the opposite of strange. It feels like the most natural thing in the world.

One paper cut you’d like to create but you can’t because technical difficulties or lack of time.

I don’t think there is any “one” piece I haven’t been able to make. Whatever concept or idea I have can be adapted to the tools available at that time. There are some general areas that I really want to experiment with, though! I want to try my hand at bigger pieces. My work has become so detailed that the sheer amount of time it takes to create a huge piece limits me right now. The small size of Japanese rooms contributes too. I’d love to play around more with illuminated cut-paper pieces, to see how I can combine my layered techniques with those traditional arts. And I have one secret experiment that I just haven’t had time for which will be a real challenge technically and conceptually.

You will also get to see my face. Check out the video.

The campaign itself is going fairly well. With 9 days to go, we’ve raised almost half the funds we need to print the calendar. If you’ve been holding off, yes, your support is still needed. My appreciation goes out to everyone who has pledged, commented, or emailed. Thank you!

update — The 2012 Cut Paper Art Calendar is now available for purchase. Please check the Calendar Shop for a preview and to order. 2012年切絵カレンダーご購入頂けます！カレンダーのショップからご閲覧・ご購入頂けます。

There’s a long, long, sometimes tedious story behind this post, and I still haven’t decided how much to tell, and which details will only bore the pants off of you. So, lets begin with the pizzaz!

The 2012 Cut Paper Art Calendar is now available!…sort of. This year, I’m printing the calendar myself, using local printers here in Japan (the same folks who do such a great job on my postcards!). To do that, I’m going to need a bit of a hand from all you guys. And when I say “hand”, I mean the one reaching for your wallet. So, please hop on over to my Kickstarter project and pre-order a calendar. Or two. Or a baker’s dozen. While you’re there, bask in the glorious rewards I am offering (ps: they are named after the animals of the Japanese Zodiac).

update: I forgot one of the most important points! Like all kickstarter campaigns, the 2012 Cut paper Art Calendar is an all-or-nothing affair. Money only changes hands (and rewards only rewarded) if I reach my goal of $2200. Kickstarter collects the money after the campaign ends on November 22nd, 2011. Thanks!

After that, go forth and share this happy news with your friends and relatives, neighbors, arch-enemies, pets, beautiful strangers whose eyes catch yours on the street, and the other 7,000,000,000 people in the world.

About the calendar
For the next twelve months, you will find yourself in a strange, familiarly alien world. It is a world of shadowy forests and living stone. A world where the sea and the wind wear faces; where great and eternal animals converse with colorful spirits. Where, in 2012, a dragon is the waterfall it bursts from.

Mostly, it is a world of paper.

2012 is the Year of the Dragon, and that brand new image (my first ever cut-paper dragon, and the first drake I’ve drawn since middle school) graces January. The other 11 months each feature one of my favorite pieces from the last couple years. This year, I’m planning on rotating in two new pieces for February and March, so let me know if you have any favorites!

Hopes, Dreams, and monotonous tedium under the fold.

The Rewards
are super. And I’m being modest when I say that. I’m offering 9 rewards at the moment, ranging from a hearty “Cheers!” on up to full commissioned artwork. In the middle are postcards, calendars, artist-edition calendars with sketches and my fabulous signature, and more.

Got an idea for a great reward? Leave a comment or drop me an email. I live to make you happy.

The Money Bit (in agonizingly dull detail)
There are times when being international just. simply. sucks. This project was supposed to go live nearly a month ago, but, as usual, I failed to account for F*up time. Y’know, those wasted weeks when you realize that online banking doesn’t allow overseas access, and bureaucracy vomits forth massive roadblocks of virtual paperwork, and all work has to be done through grudgingly related intermediaries who would really rather be in bed right now because, gosh darn it, there is a 13 hour time difference.

You might have read something about the steroid-enhanced Japanese ¥en. We don’t much like it either. Especially those of us who sell art overseas and weep at the 25% shavings every time we bring money to these island shores. It also makes it darn hard to judge what something costs.

Basically, most of the $2200 I’m looking for will go towards the printing of the calendars, color proofs, that sort of thing. There’s also a bit for the packaging materials. And the rest should be enough to cover shipping of the calendars and lower-priced rewards to whichever corner of the globe you call home.

All my price estimates are based on printing 100 calendars. If I can pre-sell more than that number, the printing price-per-calendar drops a bit, and, hey, I might even be able to buy that new printer I so desperately need. Or lunch, depending on the value of the ¥en that day.

…and finally… Why?
Those of you who have been following my career for a while might be asking, “But Patrick, why not just print the calendar through Lulu the same way you’ve always done?”. First of all, it’s nice we’re on a first-name basis now. Secondly, while I was always ultimately happy with the calendars before, the road to get there was even more tedious than this essay. This way, I have more control over the final product, I can offer signed and sketched copies, and I can hopefully offer the calendar to people all over the world while at the same time charging less to do so (when shipping fees are factored in, if not foiled by those darned currency tidal shifts).

Which brings us full-circle to me humbly asking for your support. First, we need to make the Kickstarter Campaign a success by the ending date, Nov. 22, 2011. Then, if we can pre-sell more than 100 calendars, this can be better than a break-even project, with a promises of even brighter futures. If the 2012 Calendar is a success, I’d love to try something even more ambitious. A full-blown art project perhaps. I’d love to do an art book too.

So, please go forth and spread the word. Tell all art lovers and all people who need to remember dates. If you know any artsy gift shops or galleries, share the link with them. Let’s make this a success! Thanks!!

My week has been like that. Porcupines included.

Good News! Postcard Pack Three is now, at long last, available. You can find it in the shop, along with Packs One and Two.

Bad News! My printer has died. Ignominiously during an attempted coup. As such, the new postcards will have to ship without nifty packaging for the time being. Also, all invoices will be handwritten. By me. Think of them as autographs.

Good News! Even better, all fifteen (15!) postcards are now available in one MEGA-PACK for the ultimate in cut-paper art card-iness. No longer will you have to decide which cards you love most.

Bad News! But what if you want to share your favorite with all your friends, or hang a copy on every wall…and the ceiling?

Good News! Not a problem! For the first time, I’m experimenting with 5-of-a-kind packs! Just scroll down to the bottom of the Postcards Page, and choose your favorite card from the “larger image”. You’ll get five! If this option proves popular, I’ll add a ten pack. If not, I’ll quietly disappear it and deny it ever existed. Thoughts?

Bad News! The Japanese Yen (¥) is so darn strong that I’ve had to bump the shipping price a tad. It sucks, I know. I kept it small.

Bad News! Remember that dead printer? Well, until it gets fixed, I can’t make any more Prints. I’ve got a few in stock (check the print page for availability), and then they are gone. Until I get a new printer. And I’m gonna level with you; that might take awhile seeing as I just moved across the country. Not to mention that my computer is starting to act a little rebellious too. Yeah, big bad news, but there may be a golden lining…

Good News! The art for the 2013 Cut paper Art Calendar is done! This year, I want to try something different, namely using Kickstarter to cut out the middleman and make the calendar myself. Look for more news very, very soon. Of course, if it doesn’t work out, it could turn into bad news… hey, are those porcupines?

Having said that, please enjoy this rarest of looks at the wily PaperCutter in its natural habitat; in this case, Fujikawa Kirie Art Museum in Yamanashi Prefecture, Japan. The first half of the video details the setting up of the Kirie of the World in Japan 2011 exhibition, while the second half focuses on the workshop. Best of all, they’ve edited my weird psuedo-Japanese so that it seems like I wasn’t talking gibberish.

Don’t forget, you have until September 25th to catch the exhibition.

In other news:

• There’s a new About page up! It’s terribly serious, complete with a new artist’s statement full of polysyllabic elucidation, a link to my art CV, and a Press section. There’s one or two links to interviews I gave, for those interested in hearing me talk about why paper is one of the great romances of my life.

• Speaking of my great romances, my nomadic wife and I have moved. We are no longer in the great and sprawling metroplois of Tokyo. Instead, we are now in the much more relaxed and somewhat less sprawling metropolis of Fukuoka. My new studio in our more spacious mansion is nearly set up, and I have started work on a very cool commission piece. As a bonus, my view is more epic than one meter of weeds and a stone wall. Maybe I can get some studio photos soon.

But kanji characters aren’t so simple. Combine them with other kanji and you create new words, new realities. Like 怪獣 (Kaijyuu), great and monstrous beasts, or, alternatively, men in rubber suits stomping all over cardboard cities. Others are 妖怪 (yokai), 怪談 (kaidan = ghost stories – not to be confused with 階段, also kaidan but much more a stair than a scare), and 怪文書 (kaibunshou = objectionable literature / anonymous document). Thus ends the Japanese lesson.

Gallery G2 in Ginza, one of my favorite galleries in Tokyo, hosts 怪, a celebration of the strange, the macabre, the odd, the weird, the alien, the ghastly, ghostly, fantastic and surreal. Naturally, they asked me to join, and I sent up a few of my more unnatural works.

Drop by the gallery, enjoy the oddities of a dozen twisted artists in a myriad of monstrous media. Take some pictures and send them to me, because, sadly, I am not in the Tokyo locale these days.

the details:

Name: 怪

dates: Thurs. August 11 – Tues. August 16, 2011

Times: 12:00pm – 19:00pm

place: Gallery G2, Chuo-ku, Ginza 2-8-2
Tel: 03-3567-1555
website: here map.

日付: ２０１１年８月１１日（木）〜８月１６日（火）
時間: 午前１２時～午後１９時
住所: 東京都中央区銀座2-8-2日紫ビル1F
電話: 03-3567-1555

Living, as I do, in Japan, I often find myself explaining to friends and art lovers why I won’t be able to attend the opening of my international shows. I’ve joked that my artwork travels more than I do. Which it does. And to make matters worse, it rarely sends a postcard or calls home after I let it loose into the world. So, with each exhibition on the other side of the world, I fret and worry until the work arrives safely, then sigh forlornly, wishing I could interact with all the people who come out to see the cut-paper work.

Happily, Kirie of the World in Japan 2011 is merely on the opposite side of the country, rather than the globe. So, on July 8th, I over-packed my bag (will I need a suit or a pair of speedos for the opening? Who can tell?) and hopped on the shinkansen zipping north towards Yamanashi prefecture and the Fujikawa Kirie Art Museum. The Fujikawa Craft Park is located in the mountains near Fuji-san, in some of the most beautiful country you’re likely to see. A family of herons were nesting in the trees outside my window at the Shimobe hotel – which, incidentally, has a superb onsen (hot spring) to relax in and boil away your stress.

The opening day and ceremony were on July 9th, and featured the wonderful harp playing of Miss Madoka Araki. It was a treat finally seeing, in person, the works of some of the cut-paper artists that I’ve admired from afar for years. In a shocking break from standard procedure, I brought my camera with me. And I used it.

The next day, the four artists in attendance (Tim Budden, Hina Aoyama, Masaaki Tatsumi, and myself) gave two demonstration workshops, showing our individual techniques and approaches. I should say that we gave three demos; two for the public right after a much more technical one for each other. Hina is a demon with a pair of scissors, zipping and slicing through designs and patterns so detailed I could barely see them. Tim’s sense of flow and composition is second only to the thought that goes into the metaphor and meaning of each piece. Masaaki has an enviable sense of color; watching his work come together is downright magical. I owe a big debt of gratitude to Hina Aoyama and our hosts at Kirie no Mori for organizing such a fantastic experience. The demos were really well attended. I had no idea that paper art had so many fans. Its inspiring and humbling to see people responding to the art and the artists in such a powerful way.

The exhibition is open until September 25th. Feel free to use it as an excuse to travel to Japan (or, if you’re already here, to get over to Mt. Fuji!). Seeing the work in person is an entirely different experience from these flat internet pictures.

The snippers, slicers, and visionaries responsible for the work (aside from myself) are:

• Hina Aoyama
• Bovey Lee
• Tatsumi Masaaki
• Andrea Dezsö
• Béatrice Coron
• Tim Budden
• Réhane Favereau

I’ll have a ton of other news to share with you in the weeks ahead (I hinted at it a bit in my meandering prose above), and I’ve been hard at work on new art. Enjoy a tiny sample!