“This work transforms a 1962 educational workbook into a critical examination of the political biases, omissions, and limitations that shape our understanding of home. Drawing from my multiple perspectives as a student, educator, parent, and long-time Florida resident, I’ve created a deeply personal meditation on how educational experiences construct our sense of place.

The physical presence of this book is striking—measuring 23.5″ x 18.5″ in a drum leaf binding format that allows for dramatic display. It features hand-drawn erasure poetry, an intricate laser-cut cover design, altered book pages, original writing, and innovative magnetically detachable prints that can transition between book and wall display, creating a powerful gallery presence.”

From the colophon:

“In 1980, my family moved from Escondido, California to Tampa, Florida. Even though I was only five, I sensed the culture shock my parents felt. As a former student in the Florida public school system, the educational workbook on Florida history I used to create the imagery for this book felt familiar; however, as a long-time Florida educator, I recognize its flaws, political biases, omissions, and limitations. This project allowed me to engage in a dialogue with Florida educators from the past, and to critically reexamine aspects of my education while sharing my perceptions of the state I call home.

The original owner of my copy of “Book 4: Our Florida, Revised Edition,” published in 1962 by Dade County public schools, was a student named Lugenia. While Lugenia is typically a female African American name, I know little else about them. Based on their careful handwriting, I surmise Lugenia was a studious and attentive sixth-grade student. I suspect they would have noticed that Black Floridians are barely mentioned in this text.”

For the production of this book, I employed a multi-step process: first scanning pages from Lugenia’s history workbook and adding layers of digital drawings as a kind of erasure poetry. Working in Photoshop, I hid the drawing layer and printed reproductions of the book pages, then added a layer of flocked screen printing. The non-reflective quality of the flocking deepens the black, creates a unique haptic experience and references the passing of time that reshapes historical accounts and reflects individual lived experiences. The text I wrote and placed to the left of each print was set in Bookmania and digitally printed. Each screen print is magnetically attached to its corresponding folio, allowing for removal and wall-mounted display.”

Digital and flocked screen printing on Lokta, Mohawk, Epson, and French papers with binder’s board, book cloth and magnets. Drum leaf binding. The twelve large screen prints inside are magnetically attached to each folio, allowing for easy removal and magnetic wall-mounted display. Signed and numbered by the artist.