January Subscriptions!

We are thrilled to feature these works by Becca Kallem, P. Corwin Lamm, Eleanor Barba, Dana Maier, and Kristoffer Tripplaar as part of the first monthly installments of 2016. We also released our 2015 Artist Portfolio this month, which is now available for purchase on our site. Our sixth artist portfolio highlights the selections of Karyn Miller, of Arlington Art Center, as part of a new project we initiated in 2015 to involve curators in our subscriptions. Over 25% of the works in this volume were selected by Karyn for 3 month subscription groupings, and are indicated with a red dot throughout the book.

Not a bad way to start off the new year! If you like what you see below, head over to our website to sign up for a subscription of your own – you can customize it for any artists you want, and for however long you want!


Becca Kallem, “Imaginary Planet,” 10 x 8 inches, Tempera, pencil, and gouache on paper


P. Corwin Lamm, “Treasures…,” Digital Print


Eleanor Barba, “I like hearing you say that; I like it too,” 15 x 11 1/2 inches, Screenprint


Dana Maier, “Mouse in Cup,” Ink on paper


Kristoffer Tripplaar, Untitled, 11 x 14 inches, Pigment print


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January Featured Artist: Kendall Nordin

In the process of creating this post, the e-mail exchanges and conversation with Kendall were so much about the prescriptive and limiting nature of words. Kendall preferred a phone call interview be recorded, so we gave it a shot. Unfortunately, I am poorly lacking in live interview skills, and the recording was too conversational. I was too excitable and nervous – a terrible combination. I decided to transcribe some of her answers, but even in doing so, I would have had to apply some personal statements in order to contextualize her responses. Kendall’s answers to the above questions were off-the-cuff, and should be read as such. She is currently in the process of writing a new statement. I’ve never been so eager to read an artist statement, and that might be the case for some readers. I hope to update this post with Kendall’s statement when it is made available, and maybe by that time I’ll have done some crafty editing so I can include some of our phone call interview.


So without further ado, Project Dispatch presents…

Kendall Nordin

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Untitled, Giclee prints, 12 x 15

You say in your bio that you left words behind, and much of your work is about the residue of the artistic (or any) endeavor. In your statement you describe this focus as “the shadows and the spaces in between, the gaps, the structures and processes just below the surface”. What incited this shift away from words and into the inexpressible and ephemeral? What have you learned about the “surface” by focusing on what lies beneath?

I think its all part of the longer intellectual journey that I’ve been on for as long as I can remember.  After finishing my college degree in Theology, I was taking a nap in my cousin’s hammock and tearing up from exhaustion and the sunlight hit my eyelashes.  I spent probably 20 minutes just opening and closing my eyes slowly and thinking, after all I’ve learned, THAT is what I want to make.  I want to make images/videos/work like THAT.  Of course it took me another 5 years to pursue art seriously and another couple before I felt comfortable calling myself an artist.  It’s only now that I’m starting to come to terms with the fact that the work I make is inextricably linked to my earlier interest in religion.  I can imagine that in another 10 years I will have evolved again and be able to more simply identify what I am doing.  It seems like it becomes more and more clear the more and more I do.

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Untitled, Giclee prints, 14×17

Parsing things into “surface” and “underneath” makes for a dichotomy that I don’t think really exists.  All levels of seeing are available at all times.  Focusing on not the thing but a system or focusing on a minute detail allows me to see the thing more clearly– it doesn’t fall away.  I call what I do primarily Drawing based.  And some of categorizing it like that lets me talk in this way about seeing.  When you draw a figure, you can’t focus only on a hand– you have to focus on the overall image and energetic flow and then drill down to the details.  But it is the details that makes the drawing really have personality so they are equally important. I guess overall I’m more comfortable letting an image or an installation do its work without me having to describe it, than writing a poem and having to actually make grand pronouncements about my perspective.  I hate being prescriptive.  When you’re making work that’s really trying to talk about the big questions of life and the human experience, the words sound pompous and reduce the impact.


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Untitled, Giclee prints, 14×17

You have an “art alter ego” called Le Chien Sauvage. Can you tell us a little about her? How did she come into existence, and what role does she serve in your practice? Has she made any appearances lately? Have you and your alter ego ever made work together?

I love Le Chien Sauvage.  Basically I have a ton of work and stuff that I do that doesn’t neatly fit into the categories that my main practice does.  Given the stupid constraints of the art world and marketing, I have to have a concise way of describing who “KendallNordin” is when she makes work and what kind of work she might make.  So I use other names to let me do other things.  Le Chien Sauvage is basically an instigator.  Like my 22-piece all women rock improv orchestra in Australia, PANIC.  Or like super weird aggressive costumed performance pieces that have a bit of a political edge to them.  Or protests about how artists are considered/treated/valued.  Nothing’s been happening recently with that part of my practice– probably because I’m not really surrounded by the kinds of things that incite that work– art world events, other contemporary artists, collaborators to my instigations– where I live right now.  I don’t think that we could make work together.  I think Le Chien Sauvage would probably just get really annoyed by KendallNordin’s work.  I’m looking forward to when I have enough time and energy to do it all again.  If someone gave me a show as Chien Sauvage, I would crush it, but I just don’t have the time to work out those applications and do the necessary contact making in order to get the show.

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Untitled, Giclee prints, 12 x 15


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Untitled, Giclee prints, 14×17

You are a new mother. How has this impacted your process and your work? 

I gave myself a 6 month window to not think about my art career and not feel bad.  I was surprised by how little work I got done while I was pregnant while simultaneously feeling an extraordinary pressure to get a lot done since life was about to change.  It has not changed my deep and abiding need to MAKE, but my resources are even more tapped out than before.  I’m having to start again small– with what I can do.  This current series of photos for PD has grown out of me driving around while the baby naps in the car.  I thought I would want to make work about the baby– but right now, that’s not evident.  Since I didn’t make work that was particularly biographical or personal before, I don’t know why it’s surprised me that I’m not super interested in doing it now.

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Untitled, Giclee prints, 14×17

What is your primary focus in your work right now? 

Summers in Alaska are crazy.  They’re very external.  Now that the light is going and it’s getting cold, everything starts to get very internal.  I imagine that the next few months will bring some good crystallized thinking about the next directions for my work.  I am becoming more and more honest about the fact that I make secular nonsecular art.  The words about that and how to get deeper into that will start to form.  Since I don’t have a studio at the moment, I’m really only fantasizing and drafting installation work.  I’ll be confined to a table and my computer (though I’m hoping I might manage to make some work outside at some point).  So I imagine the next few months will bring more photography, video, some drawing, maybe some sound work, and (crossing my fingers) finishing a graphic journal I’ve had on hold for about a year.


Untitled, Giclee prints, 12 x 15

Have you made any discoveries in your practice as a result of becoming a member of Project Dispatch and making work for subscriptions?

Yes!  I’ve mentioned this in interviews before but I have had to really come to terms with what “commercial” work I can do and how deeply uncomfortable I am making a product just for sale.  I have to think of the work as series, as focused, and as research for larger pieces.  Though I think the past couple of years the work has ended up being its own resolved thing.

If you could pick three artists from the Project to subscribe to, who would they be?

Today I’d choose Frank Adams, Evan Hume, and Allison Long Hardy.  Other days I would probably choose the random selection option.


To see more work by Kendall, visit KendallNordin.com.

Start your subscriptionto Kendall throughout the month of January to receive a 10% discount!



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Final installments of 2015

2015 was a great year for us, and a great year for all of our collectors…just check out some of the final installments of the last year! We have great things planned for 2016…and so do you, if you start off YOUR new year off with an art subscription! Subscribe on our website by clicking HERE


Dana Maier, “Akbar,” Pen and ink

Man and Mouse coaster

Dana Maier, “Man and Mouse,” Pen and ink on coaster

Cat on Pedestal Coaster

Dana Maier, “Cat on a Pedestal,” Pen and ink on coaster


Rachel England, Untitled, Print transfer collage

209 of 365 Ten Minute Collage_8x10_paper collage_2014

Rachel England, 209/265, Paper collage, 10 x 8 inches


Elizabeth Graeber, “Barn Owl,” Ink and watercolor on paper



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November Subscriptions!

We love sharing the work that goes out each month to our subscribers, not only because it’s always pretty awesome, but also because we want to inspire YOU to subscribe. It’s not easy to keep the subscriptions rolling in, so we rely on people who like what we do to show their support. The price point couldn’t be more accessible (really!) and the holidays are the BEST time to order. We are offering a HUGE SALE through the end of December…20% OFF EVERYTHING including subscriptions, choose your own adventure books, trading card packs (think stocking stuffers), and single serving mystery works! Just enter coupon code HOLIDAZE at checkout. This discount also applies to our already incredible offer for a FREE LIMITED EDITION PRINT with a sampler subscription! This way, you can order a gift and still keep a little something for yourself….(we won’t tell).

Long story short….WE NEED YOUR SUPPORT! And the holidays are the best time to show it. Mostly because we are making it really easy on you, but also because we know that the recipient of a gift subscription to Project Dispatch will love you forever. Think about it…SUBSCRIBE!

Kelley_Space Core_Archival Inkjet Print_11x14 inches

Chandi Kelley, “Space Core,” C-print, 6 x 8 inches


Rachel England, Untitled, Paper Collage, 5 x 5 inches


Rachel England, Untitled, Paper Collage, 10 x 7 inches


Molly McAuley, Untitled, Graphite on paper, 11 x 10 inches


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October Installments

We are loving the work that has been going out in subscriptions these last few months! Check out our October installments below, featuring work by Dana Maier, Molly McAuley, Jessica Ford, Arianna Valle, and Chandi Kelley. Want to subscribe, and make sure that you get work by at least one of these artists? Pick the Curated Subscription, with selections by Karyn Miller, which is guaranteed to include work by Dana Maier, Arianna Valle, or Chandi Kelley! What better way to take the worry out of purchasing unseen art, without taking out the fun of getting mystery art in the mail?!?

Dana Maier, "Mice in Cups," Ink on paper, 8 x 8 inches

Dana Maier, “Mice in Cups,” Ink on paper, 8 x 8 inches


Molly McAuley, Untitled, Gouache on canvas, 8×10 inches, 2015

Jessica Ford, "Souvenir," Charcoal and oil pastel on paper, 6 x 4.5 inches

Jessica Ford, “Souvenir,” Charcoal and oil pastel on paper, 6 x 4.5 inches

Arianna Valle, Untitled, Archival inkjet print, 8x10 inches

Arianna Valle, Untitled, Archival inkjet print, 8×10 inches

Chandi Kelley, "Crystal," Archival inkjet print, 11 x 14 inches

Chandi Kelley, “Crystal,” Archival inkjet print, 11 x 14 inches


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September Subscriptions!

It’s your monthly teaser! Enjoy these works that went out to our subscribers from P. Corwin Lamm, Jerome Skiscim, Dana Maier, and Amy Hughes Braden. If you like what you see below, you will LOVE the experience that you’ll get with a subscription!

P. Corwin Lamm, "Pond Bed...," Archival inkjet print, 10 x 10 inches, 2015

P. Corwin Lamm, “Pond Bed…,” Archival inkjet print, 10 x 10 inches, 2015

Jerome Skiscim, "Seasurreal," Chemigram with aluminum border, 8 x 10 inches

Jerome Skiscim, “Seasurreal,” Chemigram with aluminum border, 8 x 10 inches

Dana Maier, "Will Anyone," Ink on paper

Dana Maier, “Will Anyone,” Ink on paper

Amy Hughes Braden, "Two Bushes (Two Doves)," Acrylic and collage on found photographs, 10 x 9.5 inches, 2015

Amy Hughes Braden, “Two Bushes (Two Doves),” Acrylic and collage on found photographs, 10 x 9.5 inches, 2015


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September Featured Artist: Molly McAuley

After a brief summer hiatus, it’s lovely to come back to feature Molly McAuley and get lost in her work. It’s no wonder that Molly gets a lot of commissions for portraits and caricatures with her skill and style, but it’s her surrealist landscapes which have intrigued and delighted me the most.

Rene Magritte said, “To be a surrealist means barring from your mind all remembrance of what you have seen, and being always on the lookout for what has never been seen.” While I appreciate this sentiment, I find art which draws from the vast amount of information available to us today, to be more mysterious and provoking. Molly’s work is a prime example of this re-organization of information to create impossible landscapes which also somehow feel familiar. When I see Molly’s work, I feel like I should know the characters, and that they are part of a larger narrative which I’ve just momentarily forgotten. That’s a pretty great mind trick.

So without further ado,

Molly McAuley

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Some of your work is reminiscent of vaudeville with exaggerated expressions and references to 20’s-50’s styling. Do you have a particular affinity to this era in entertainment? You also sometimes use entertainers as central figures. Can you tell us why you choose to do this?

Well the idea of variety is something that inspires my work, so I see the connection to vaudeville and early variety shows for sure. I’ve also always been delighted by musical theatre and the magic of any great spectacle or performance – pageants, parades, circus acts, cabaret, lavish Broadway and Hollywood musicals, game shows, etc. – so I try to create some of that theatrical excitement in my pieces. I love the way that visual and performing arts combine to delight and entertain spectators. I think growing up performing in musicals and watching them, I understood the structure well, and that influences how I structure my compositions – setting the stage or background first, placing key players as focal points and others in clusters or choreographed formations to balance the composition, and using lighting and costumes to separate foreground from background within the frame.

In borrowing imagery from the world of entertainment, including tributes to some of my favorite performers, I kind of hope to steal a bit of their magic, to celebrate them but also make them mine in some way. For me, the figures of entertainers serve as reminders of the joy of both creating and appreciating art – that work can be play and art is entertainment.


“Sleepy’s Open” digital collage 18×48″

“Synchronized” graphite 8×10″

I’ve noticed re-occurring figures of ladies in bathing suits (maybe in a pageant) with large head masks in some of your works. What do these figures represent to you?

I like the mix of glamour and beauty with an element of oddity that these figures represent to me. I also really love seeing/depicting bodies arranged in formation – unified by things like costume and choreography, while offering the subtle differences apparent in the facial features and expressions, which vary from each individual figure to the next. In the case of these pageant ladies, I love that the head masks exaggerate those differences to a sort of comic effect.

“Work as Play” charcoal and pastel 18×24″

“Social Circle” graphite, pen, marker, gouache 12×12″

What are the most commonly asked questions about your work?

I’d say I get more “comments” than “questions” from people when they see my work, and I’m okay with that! I’m usually just aiming to create visually pleasing, somewhat intriguing, pictures that offer the experience of stepping into another world, like a dream. So if people say, “cool!” then I’m happy. But I find that, especially if I give the piece a title, people are often interested in hearing my interpretation of the piece and what it means or where it might have come from. So it’s fun to share the connections I have made about a piece, but also to hear what it evokes for other people, too.

“giant radioactive fukushima squid” graphite 8×10″

When you’re starting to work on your surrealist landscapes, where do you get your source material?

I’m a bit of a hoarder when it comes to source material. No image that comes through the screen of my computer or phone is safe from a quick screenshot or drag-to-desktop (then filed into various folders, “binders of women,” etc.) if I like it and think I can use it. I’m still not entirely clear on what the rules are for appropriating imagery, so I just assume it’s all fair game as long as I do something cool with it to make it mine, ya? I also like taking screen shots during videos to capture moments that aren’t already available as images on the internet. So when I’m making my surrealist landscapes in Photoshop, I have a ton of digital material to work from. For my hand-cut collages and mixed-media stuff, I also have a huge collection of National Geographic mags which I love to sit and look/cut through, as well as other used books I’ve acquired for that purpose. When I want to make work with more of a personal theme, I love going through all of my old family photos, which are such a goldmine.

“Happytown, USA” collage 18×48″

“Big Sister” graphite and gouache 18×24″

What are you working on now?

I’ve always wanted to make work with some sort of 3-d element, so I have been playing around with these little clay sculptures I’ve made – small figures and busts, and putting them in diorama boxes with drawings around them lining the background. The next step will be figuring out how to wire lighting into them so they can function as night-lights or lamps. I love lamp(s).

Have you made any discoveries in your practice as a result of becoming a member of Project Dispatch and making work for subscriptions?

Being a member of Project Dispatch has been great for me because it’s a good reason to keep me making art outside of the portraits and other commissioned work I do – I need the motivation and I enjoy the freedom to create a little something I am proud to send out and that I otherwise would not have made. I’m inspired by the concept of Project Dispatch and always excited to tell people about it because it’s something so unique and accessible for people who want to own original art (and who doesn’t?) I’m inspired by the other artists in the group, too, seeing what everybody comes up with for subscriptions and for our shows.

 If you could pick three artists from the Project to subscribe to, who would they be?

I think I would pick Jessica Ford, Sheena Custer, and Chandi Kelley first. Then I would pick three more and keep going – there are too many interesting artists to choose from.

To see more work by Molly, visit her website: www.mollymcauley.com

Start your subscriptionto Molly throughout the month of September to receive a 10% discount!

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