**Please understand that there is some variation within each edition of prints, as they are hand printed by the artist. The prints also have deckled (torn) edges, and can have organic variation in the dimensions and outer shape of the paper. 

**PLEASE NOTE: Currently shipping to the USA, lower 48 states, the preparation, handling, and shipping fee has been included in the price. Please contact me in advance if you are in another location (global) to discuss logistics, and customize your order.

About this series:

This group of prints are a part of my ‘Anthropocene Landscape Series’. Printmaking challenges me to instill precision and clarity onto the most fleeting, inexpressible aspect of my landscapes: changes in atmosphere, climate, and violence to the land. The inconsistencies I cause to the plate: scratches, slips, imperfections, give life to the landscape. My faults in the process of manipulating the ink, and the unique surfaces of each piece of paper breathe a bit of chaos, dust, and air into the land. 

Representing human encounters with a damaged post-industrial landscape, this body of work draws from concrete realities about our present day earth. Murray Bookchin writes about a split that happened between the Human and Nature, via the transition from Nomadic Life, into Societal Life. Could our environmentally destructive legacy of Pollution, Nature-domination, Environmental-Colonialism, and Neo-Liberalism have been avoidable? How might a person in this alternate timeline survive, and relate to the land? I imagine this parallel story, where engineering, and surviving the harsh elements, is in the hands of a wandering nomad. Although the human figure isn’t present, we see life scenarios through inhabited spaces, and simplistic technologies to interact with the elements. Some mechanisms generate wind-power, hydro-power, or solar, and some are shelters with a duel function of collecting rainwater for plants and drinking. In the structures’ precariousness, and sometimes futility, they reflect on the fragile relationship between humanity and nature.

**Please understand that there is some variation within each edition of prints, as they are hand printed by the artist. The prints also have deckled (torn) edges, and can have organic variation in the dimensions and outer shape of the paper.

**PLEASE NOTE: Currently shipping to the USA, lower 48 states, the preparation, handling, and shipping fee has been included in the price. Please contact me in advance if you are in another location (global) to discuss logistics, and customize your order.

About this series:

This group of prints are a part of my ‘Anthropocene Landscape Series’. Printmaking challenges me to instill precision and clarity onto the most fleeting, inexpressible aspect of my landscapes: changes in atmosphere, climate, and violence to the land. The inconsistencies I cause to the plate: scratches, slips, imperfections, give life to the landscape. My faults in the process of manipulating the ink, and the unique surfaces of each piece of paper breathe a bit of chaos, dust, and air into the land. 

Representing human encounters with a damaged post-industrial landscape, this body of work draws from concrete realities about our present day earth. Murray Bookchin writes about a split that happened between the Human and Nature, via the transition from Nomadic Life, into Societal Life. Could our environmentally destructive legacy of Pollution, Nature-domination, Environmental-Colonialism, and Neo-Liberalism have been avoidable? How might a person in this alternate timeline survive, and relate to the land? I imagine this parallel story, where engineering, and surviving the harsh elements, is in the hands of a wandering nomad. Although the human figure isn’t present, we see life scenarios through inhabited spaces, and simplistic technologies to interact with the elements. Some mechanisms generate wind-power, hydro-power, or solar, and some are shelters with a duel function of collecting rainwater for plants and drinking. In the structures’ precariousness, and sometimes futility, they reflect on the fragile relationship between humanity and nature.

**Please understand that there is some variation within each edition of prints, as they are hand printed by the artist. The prints also have deckled (torn) edges, and can have organic variation in the dimensions and outer shape of the paper.

**PLEASE NOTE: Currently shipping to the USA, lower 48 states, the preparation, handling, and shipping fee has been included in the price . Please contact me in advance if you are in another location (global) to discuss logistics, and customize your order.

About this series:

This group of prints are a part of my ‘Anthropocene Landscape Series’. Printmaking challenges me to instill precision and clarity onto the most fleeting, inexpressible aspect of my landscapes: changes in atmosphere, climate, and violence to the land. The inconsistencies I cause to the plate: scratches, slips, imperfections, give life to the landscape. My faults in the process of manipulating the ink, and the unique surfaces of each piece of paper breathe a bit of chaos, dust, and air into the land. 

Representing human encounters with a damaged post-industrial landscape, this body of work draws from concrete realities about our present day earth. Murray Bookchin writes about a split that happened between the Human and Nature, via the transition from Nomadic Life, into Societal Life. Could our environmentally destructive legacy of Pollution, Nature-domination, Environmental-Colonialism, and Neo-Liberalism have been avoidable? How might a person in this alternate timeline survive, and relate to the land? I imagine this parallel story, where engineering, and surviving the harsh elements, is in the hands of a wandering nomad. Although the human figure isn’t present, we see life scenarios through inhabited spaces, and simplistic technologies to interact with the elements. Some mechanisms generate wind-power, hydro-power, or solar, and some are shelters with a duel function of collecting rainwater for plants and drinking. In the structures’ precariousness, and sometimes futility, they reflect on the fragile relationship between humanity and nature.

**Please understand that there is some variation within each edition of prints, as they are hand printed by the artist. The prints also have deckled (torn) edges, and can have organic variation in the dimensions and outer shape of the paper.

**PLEASE NOTE: Currently shipping to the USA, lower 48 states, the preparation, handling, and shipping fee has been included in the price. Please contact me in advance if you are in another location (global) to discuss logistics, and customize your order.

About this series:

This group of prints are a part of my ‘Anthropocene Landscape Series’. Printmaking challenges me to instill precision and clarity onto the most fleeting, inexpressible aspect of my landscapes: changes in atmosphere, climate, and violence to the land. The inconsistencies I cause to the plate: scratches, slips, imperfections, give life to the landscape. My faults in the process of manipulating the ink, and the unique surfaces of each piece of paper breathe a bit of chaos, dust, and air into the land. 

Representing human encounters with a damaged post-industrial landscape, this body of work draws from concrete realities about our present day earth. Murray Bookchin writes about a split that happened between the Human and Nature, via the transition from Nomadic Life, into Societal Life. Could our environmentally destructive legacy of Pollution, Nature-domination, Environmental-Colonialism, and Neo-Liberalism have been avoidable? How might a person in this alternate timeline survive, and relate to the land? I imagine this parallel story, where engineering, and surviving the harsh elements, is in the hands of a wandering nomad. Although the human figure isn’t present, we see life scenarios through inhabited spaces, and simplistic technologies to interact with the elements. Some mechanisms generate wind-power, hydro-power, or solar, and some are shelters with a duel function of collecting rainwater for plants and drinking. In the structures’ precariousness, and sometimes futility, they reflect on the fragile relationship between humanity and nature.

**PLEASE NOTE: Currently shipping to the USA, the preparation, handling, and shipping fee has been included in the price. Please contact me in advance if you are in another location (global) to discuss logistics, and customize your order.

You get 5 of my Linocut Prints, made for this collaborative project, not found anywhere else!

The Atlas Trap, is a small edition of letterpress printed poems by Greg Delanty and linocut relief prints by Zac Skinner:

The combination of word and image create a moving narrative of the present state of life in the Anthropocene. The Atlas Trap was designed and printed by Paulette Myers-Rich at Traffic Street Press, Beacon, NY, 2022. It is the seventh publication in the Trafficking in Poetry series. Produced as a suite of 18 5×7” individual prints it is handset in metal Dante type from the Berliner Type Foundry and letterpress printed on Rives BFK paper. Enclosed in a wrapper of Mohawk cover paper in a signed edition of 40.

Linocut Prints by Zac Skinner included in Atlas Trap:

-Ivory Billed Woodpecker with Hut-Raft and Stumps

-Japanese River Otter with Hut-Raft and Shelters

-Orca with Hut-Raft and Wind Turbines

-Ursus Arctos Crowtheri with Rainwater Collector and Kale

-Xerces Blue with Hut-Raft and Water Tower

Poems by Greg Delanty as handset letterpress prints included in Atlas Trap:

-Psalm 23, A Secular Take

-Ancestor

-Caribbean Monk Seal

-Ectopistes migratorius

-Homo Sapiens

-Ivory-billed Woodpecker

-Japanese River Otter

-Orca

-Ursus arctos crowtheri

**PLEASE NOTE: Currently shipping to the USA, the preparation, handling, and shipping fee has been included in the price. Please contact me in advance if you are in another location (global) to discuss logistics, and customize your order.

ONE OF A KIND Monotype:

Part of my ‘Anthropocene Landscape Series’. Monotypes with drawing challenge me to instill precision and clarity onto the most fleeting, inexpressible aspect of my landscapes: changes in atmosphere, climate, and violence to the land. My faults in the process of manipulating the ink, and the unique surfaces of each piece of paper breathe a bit of chaos, dust, and air into the land. 

Representing human encounters with a damaged post-industrial landscape, this body of work draws from concrete realities about our present day earth. Murray Bookchin writes about a split that happened between the Human and Nature, via the transition from Nomadic Life, into Societal Life. Could our environmentally destructive legacy of Pollution, Nature-domination, Environmental-Colonialism, and Neo-Liberalism have been avoidable? How might a person in this alternate timeline survive, and relate to the land? I imagine this parallel story, where engineering, and surviving the harsh elements, is in the hands of a wandering nomad. Although the human figure isn’t present, we see life scenarios through inhabited spaces, and simplistic technologies to interact with the elements. Some mechanisms generate wind-power, hydro-power, or solar, and some are shelters with a duel function of collecting rainwater for plants and drinking. In the structures’ precariousness, and sometimes futility, they reflect on the fragile relationship between humanity and nature.

A rusty patch bee hut, a symbol of threatened coexistence, huddles beneath a lone raincloud in a parched landscape. This artwork highlights the precarious balance between human dependence and the decline of nature.

In a poignant twist on survival, a weathered makeshift raft sailed through gusty winds adorned with a leatherback sea turtle motif (a human-threatened species), a commentary on human interdependence with a struggling natural world in the face of climate disaster.

**PLEASE NOTE: Currently shipping to the USA, the preparation, handling, and shipping fee has been included in the price. Please contact me in advance if you are in another location (global) to discuss logistics, and customize your order.

Optional handmade float frame (made by me) in pickled-white stained oak.

ONE OF A KIND Egg Tempera Painting on panel:

Part of my ‘Anthropocene Landscape Series’. For some of my early important paintings in the series, like this painting, I cheekily referred to them as 'vegetarian survivalist fantasies', here a survival tent captures rainwater to sustain kale plants planted around its' perimeter.

**PLEASE NOTE: Currently shipping to the USA, the preparation, handling, and shipping fee has been included in the price. Please contact me in advance if you are in another location (global) to discuss logistics, and customize your order.

ONE OF A KIND Acrylic and Charcoal Painting on Stretched Canvas:

Part of my ‘Anthropocene Landscape Series’. For some of my early important paintings in the series, like this painting, inventions of my own design are depicted. As the title suggests, this invention is a low-tech, nomadic wind-power generator.

**PLEASE NOTE: Currently shipping to the USA, the preparation, handling, and shipping fee has been included in the price. Please contact me in advance if you are in another location (global) to discuss logistics, and customize your order.

ONE OF A KIND Monotype:

Part of my ‘Anthropocene Landscape Series’. Monotypes with drawing challenge me to instill precision and clarity onto the most fleeting, inexpressible aspect of my landscapes: changes in atmosphere, climate, and violence to the land. My faults in the process of manipulating the ink, and the unique surfaces of each piece of paper breathe a bit of chaos, dust, and air into the land. 

Representing human encounters with a damaged post-industrial landscape, this body of work draws from concrete realities about our present day earth. Murray Bookchin writes about a split that happened between the Human and Nature, via the transition from Nomadic Life, into Societal Life. Could our environmentally destructive legacy of Pollution, Nature-domination, Environmental-Colonialism, and Neo-Liberalism have been avoidable? How might a person in this alternate timeline survive, and relate to the land? I imagine this parallel story, where engineering, and surviving the harsh elements, is in the hands of a wandering nomad. Although the human figure isn’t present, we see life scenarios through inhabited spaces, and simplistic technologies to interact with the elements. Some mechanisms generate wind-power, hydro-power, or solar, and some are shelters with a duel function of collecting rainwater for plants and drinking. In the structures’ precariousness, and sometimes futility, they reflect on the fragile relationship between humanity and nature.

Looking for the Dusky Seaside Sparrow Tees? I had to make a new page for it, to allow for a special Fundraising Effort! Please visit the following page:

NEW PAGE Dusky Sparrow TEEs: Buy Here