This proposal from 2011 followed a series of collaborations between Michael Hettich and Tom Virgin. After working together in the SWEAT Broadsheet Project, Hettich and Virgin with contributions from Jay Bellicchi and Evan Robarts, worked on creating a series of billboards that merged poetry, visual art, the iconography of Miami, and their mutual concerns about education. The challenge was to create something that could be “read” billboard style, at 65+ mph. Using a metaphor of fish and schools, these works were designed for use on billboards and bus backs in urban Miami neighborhoods.
INDU: Commensalists and Hand Me Downs Mixed media installation 12 ft x 12 ft x 12 ft 2008
This work came from an earlier residency at Indiana Dunes National Lakeshore in 2006. I finished cutting the plates and printing the prints that came from that residency, while I was in residence at the Oregon College of Art and Craft in 2007. This installation was created for the 2008 AIR Exhibition that brought back all the participating artists for a show. I combined a large drawing, archival digital C-prints, woodcut prints, commercial mesh banners and ephemera to create the effect INDU had on me in 2006.
This work has been featured in a National Parks Publication,
Today Is 3 in x 9 in x .5 in 2011
This book was a collaboration between Tom Virgin and Michael Hettich for Arthur Jaffe’s 90th Birthday. Hettich and Virgin related years of teaching experience to a school of fish. This book is one of several collaborations by the two that revolve around teaching and learning.Arches 88 is the paper used for the accordion fold body of the work, and Unryu wrapped book boards provide the covers.
This book is an editon of 5. Evan Robarts and Fifty-Five have also collaborated on the faux Priority labels that are collaged into the book.
Every Pot Has a Lid 8 inches x 9 inches x 1/4 inch 2003
This book is a fable using simple household objects to express the complexity of relationships. The artist borrows quotations from notable historic figures to unravel and examine the permutations of love. Haiku written by the artist further iluminate this mystery.
A Japanese stab binding encloses inkjet prints of the artist’s original drawings that have been digitally colored. Printed on Unryu paper. Covers are book board covered with brown bark paper. This book is an edition of 20.
“Ganko,” is an observation of overlapping cultures, housed in a multiple quire binding. After a class in single/complex quire bindings by Julia Miller at Oregon College of Art and Craft in 2007, I couldn’t wait to put the knowledge to work. During my residency there during summer 2007 this book came together with letterpress printed covers (thanks to Moe Snyder), digital imaging on sheets of Mohawk Superfine Text, and end sheets of kimono fabrics from the Japanese Gardens in Portland, Oregon. Akiko Watamori, my friend (and my bird Ashlynn’s Veterinarian) gave me a window on Japanese culture. I gave her a tour of Miami. The result, including some random images of Portland, Oregon, became “Ganko” in an edition of three.