news & process

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  • Wolfbat interlude

    This past May, in order to add more skills to my studio practice,  I worked for Wolfbat Studios (artist Dennis McNett) and the Shreveport Regional Arts Council on a project in my hometown of Shreveport, LA.   We built an interactive steamboat installation Wolfbat style.  The paddlewheel even spun thanks to a ceiling fan motor (and Josh Porter at SRAC who makes everything work better).  A few photos for ye:

  • Place/Process Exhibition March 2-April 10

    (Images: "We Watched the Water Cathedral Build and Dismantle Itself*", cyanotype, Catherine Nelson / "Presence", woodcut, Andrea Krupp)

    *Title from the poem "Michael: A Sequence" by Robert Herschbach, published in Painted Bride Quarterly, Print Annual 6

    Announcing the opening of Place/Process, a two-person show awarded by the Free Library of Philadelphia's Print and Picture Collection!  We are honored and excited to share our newest work with you in this inspiring building.  Come celebrate the opening with us on March 7 from 2-4pm.  The exhibition will showcase cyanotypes (analog photos of drawings) from my first months in New Orleans and prints and paintings by Andrea Krupp from her recent residency in Iceland.  


    Catherine Nelson is an artist delving into the intersection of printmaking, drawing, painting, sculpture and photography.  Her newest body of work is motivated by a sense of wonder at the everyday: a hole in a wall opens into to a wild cave, a crack in the sidewalk morphs into a nebula in another galaxy, sap crawling down a tree gives way to a volcanic eruption.  Her prints build up through improvisation with materials, leveraging the power of printmaking to repeat and expand on imagery.   Nelson also hand-prints a monthly zine called “Puncture” to experiment with and trade new ideas. Currently she is exploring how movement in a drawing can shape a book.  She lives and works in New Orleans.

  • DIY studio setup in New Orleans

    This October I moved my studio.  I moved from a divine setup at Sharktown Studios in Philadelphia (shared studio with access down the hall to print collective BYOPrint) that was 2 blocks from home to a warehouse 15 minutes by car from my new home in New Orleans.  All so that I could be driving distance from my family.  I left beautiful communities in printmaking and frisbee behind and drove 1200 miles with life in boxes.  I don't need to tell you what a scary transtition that was and is.  It makes me vulnerable in lots of ways, but I couldn't stand the idea of missing my siblings and cousins indefinitely, so here we go, let's make it work!

    When I moved into my new space there was no print setup, no heat, and no windows in the new space.  My raw space looked like this:

    Picking a studio is a balance of light, space, people and (for printmaking) access to equipment.  I looked all over New Orleans, and the people at Corridor Studios stood out so much that I bypassed all of the other things on the checklist & chose to move in there, meaning I had a lot of building out to do.  After benefitting from collective workspaces for so many years, it felt good to learn how to set up my own equipment with what we had around.

    The darkroom came first - it's kind of a fort of moving blankets and contractor bags under my work table.  I crawl in and coat my screens, put them in a little compartment in the back, and crawl out until they're dry.  It's definitely not sustainable on the knees/back, but it's a start!

    Next came the washout.  My get-it-done studio mate Gabe modified a plastic sink so I could wash out while standing & installed shower curtains to control the spray.  We then installed a garden hose & voila!

  • New Orleans Comics and Zines Festival (NOCAZ) this weekend!

    Puncture is going to its second zine fair! We'll be at NOCAZ this Saturday, Nov 15 from 11AM-5PM at the New Orleans Public Library's Main Branch - 219 LOYOLA AVE (DIRECTIONS) (FACEBOOK EVENT)  Come by and see what we've made!

    "NOCAZ is an attempt to make a space for self published artists and thinkers to put their work out in the public sphere and be able to reach other people without the constraints and expense of the commercial publishing industry. Zines are a participatory format and we hope bringing multiple perspectives together under one roof can create dialogue and inspire more people to express themselves through print. We would also like to see more of this D.I.Y. spirit in the world of comics and hopefully make space for sharing knowledge and celebrating work that is existing outside of the tired narratives of mainstream comics and pushing the medium to new limits. And all of this happening at the public library? What a dream!"

    Full schedule:










  • In the studio: 3rd Issue of Puncture Zine

    Guest contributor Robbie Beamer is a man of many talents.  Rocking out as the drummer in the bands Solid Bronze Hits, Doom Whore, Sunset Recorder and more, plus some filming/photography for Noface Performance Group and a million other projects I can't even keep track of.  For the 3rd issue of the zine Puncture, he's made us a flow chart titled "Daily Decisions of my 9 Year Old Self."  Find a copy at the Resource Exchange or Buzz Cafe as of this First Friday, September 5, or email me to mail you one.  $5.

  • Exhibition photo teaser, "Engagement & Entrapment"

    This past week I traveled to Tel Aviv to install and open the show "Engagement & Entrapment" curated by the incredibly intelligent UK artist Diana Ali and hosted by artist collective Binyamin Gallery.  The week yielded a surreal mix of normal life and wartime tension.  More to come about the trip.  For now, here's a peek at the gallery space.

  • Fibers!

    My quest for self-education outside of a formal art school degree ironically led me back to school for an intensive fibers course with Philadelphia artist Chrissy Day.  Her pace was near breakneck (we did this all in a week!) and extremely thorough, covering felting, a range of dye techniques and weaving.  Here's a sampling of my work from the class.  

  • Marbling paper

    I'm a firm believer that in order to be a happy and productive artist, I need to remain a student all my life.  The process of discovery using new materials is exhilirating and energizing, and it often jumpstarts me when I'm feeling sluggish in the studio.  This was one of those moments.  These sheets were marbled using diluted oil paint in a baking pan. They went on to be the backdrop for pieces (below) for a show with the Philadelphia Hand Lettering Society at Gibbs Connors' Studio.

  • Hand-Drawn Lettering Lesson (Mural Arts Program & NET)

    As a visiting artist for the Mural Arts Program's NET sites (a restorative justice program), I have been sharing skills and ideas from my studio with teenagers awaiting a trial date.  This class involved classic hand lettering techniques, as well as hand drawn fonts made by riffing on existing digital fonts.  Here are some of the results!

  • Washington DC Mardi Gras Poster is complete!

    Using a combination of prints of military patches, drawings of medals of honor and forms and layers relating to both, this year's Mystick Krewe of Louisianians Mardi Gras ball poster design represents this year's theme, Louisiana's Service to America.  

    Images of this collage were sent to Crown Decal Printers in Lafayette, LA, where Edmond Dubois-Blanc screen printed the image with the text for the ball.  Two weeks ago I traveled down to sign the edition of 500, and this weekend they'll make their debut at the ball.  If you're interested in one, email me at catherine.t.nelson @ and I will send you ordering info.