Publications
Introduction
There is something about the book format, in all its forms, that has always resonated with me. The process of creating and curating content, shaping its flow, collaborating with others, and designing an impactful cover has become an essential part of my creative practice. Each choice serves a central theme or idea, transforming a publication into more than just a container for information.
Most of my publications are digital, though I have also explored physical printing through zines and chapbooks. The digital nature of PDFs holds a particular appeal because they are inexpensive, flexible in size and length, and can circulate with ease. In Print Culture: From Steam Press to Ebook, Frances Robertson describes our post-print era as one where digital communications threaten our social and consensual models of how information is made and agreed upon, and how knowledge is ordered. I do not see this shift as a threat. I see it as an opportunity. The book format is not just a vehicle for vetted knowledge. It is also a space for experimentation, wonder, and play. This page details the publications I have made to date, and will eventually include supplemental and preparatory materials.
Sad Girl Review (2018-2023)
I am the founder and editor of Sad Girl Review, an independent art and literature publication. It is currently on hiatus, but all issues are available to download here. For more information about the project, please read the abstract below for my NEMLA 2023 paper presentation titled Sad Girl Review: Art Publishing Makes Room for Emerging Creators, which was supported by a Canada Council Arts Abroad grant.
Abstract: Sad Girl Review (ISSN 2563-4801) is a contemporary art and literature magazine that produces approximately two digital issues per year. It is an independent online publication with 8 themed issues to date, established in 2018 by artist Amber. As the name suggests, Sad Girl Review's mandate is to share the best in girly, melancholy material: art, creative nonfiction essays, and poetry. However, the topic of girliness does not mean that this is a women's only magazine in terms of readers or contributors; all creators are welcome to submit their own take on "girliness"— whatever that might mean to the contributor in question, which makes being a “sad girl” more of a state of being than any person in particular. The aesthetic sensibility of the publication lies somewhere between Lisa Frank stickers, Cosmopolitan magazine, feminist zines, and Vera Chytilová’s film Daisies (1966). Sad Girl Review was created to be recognized as an artwork, and because of this designation it is a wholly noncommercial space. The publication is the result of the collaboration between 150 contributors to date, with much of the work originating from emerging and early career creators. Sad Girl Review thrives because it is created in close production with each contributor and it does not rely on financial viability. Questions that have arisen during the publication process include: how does the format and distribution of an exclusively digital magazine differ from print? How can a publication be an artwork? What are the ethics of working with an emerging contributor posthumously?
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My Other Chapbooks, Zines, and DIY Publications
A variety of art publications that I have created.
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Counterflow
I am the lead designer for Counterflow, a regional literary publication. All issues are available for download from Wordstorm Society of the Arts.
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