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Katherine Charney will graduate from the Maryland Institute College of Art (MICA) in 2019 with a BFA in Printmaking. Her work traverses printmaking, poetry and object collecting.


“I want to argue in favor of a nature-culture continuum which stresses embodied and embrained immanence and includes negotiations and interactions with bio-genetics and neurosciences, but also environmental sciences, gender, ethnicity and disability studies.”

--Rosi Braidotti

Biology textbooks, poetry, and personal memories of wilderness come together on paper so that you might understand, grieve for, or covet the heartache of ecological isolation. I collect and reconstruct imagery observed from maps, geological surveys, atomic microscopes and industrial tragedies that push viewers to access their own conceptions of “nature.” The juxtaposition of diagrammatic material and drawing lends itself to liminal and science fictional space. I like to think of this work as a hypothesis presented to the viewer, who in turn may accept, reject or augment my science fiction. My practice is rooted in years spent working in the sustainable agriculture and conservation industries. Unsurprisingly, it was only outside where I learned empathy for the environment.

Integral to the printmaking process is the element of chance; one cannot always control the outcome of plate-making or screen-printing. By releasing the plate or screen to the possibility of environmental interference, I welcome a spectrum of marks detached from the artist’s hand. This dissociative process mirrors the experience of the impending climate catastrophe; somehow a product of my doing yet uncontrollable and irreversible.

I consider printmaking as poetry; the death and rebirth of a matrix, the marriage of oil and water, a heavy hand and sweet release.