Zines are handmade, limited-run prints and publications of my work. Sometimes there are no opportunities to publish a body of work, either online or in a public space, and this is an opportunity for these images and words to live in someone else’s hands. All are available for order ($20 each) unless otherwise specified, please use my contact form on the bio page to get in touch.
I N / F I N I T E
I N / F I N I T E is a zine that explores some conceptual elements of modern visual paradigms.
“The hegemony of graphic spatialism may be understood as an uninterrupted continuum of delineated projections, constituting the form of an infinite space that encompasses every sensation, including the projection of experience as a concept of something ulterior to sensation, from the furthest cosmos down to the murky interiors of the soul … The infinite grid of space is implied by the concept of integers (1, 2, 3, 4…) that comprise the lines and points of the graph, but the graph also implies irrational numbers, like pi, that describe distance: the infinite points that exist between each line on a graph that describe the indeterminate position of things in real life. These are infinite systems contained within the infinite, finite spaces of a finite-infinite continuum — we do not feel at home here. Drop a pencil on a piece of graph paper and you will have measured your actual location on the irrational line of your personal existence; look closely at the place you occupy, even if the universe began in the square that you marked, the X and Y value of your position would be followed by an infinite string of decimals: you could never, given all the time in the universe, fully comprehend your place within the finite-infinite continuum lying before you.”
Preliminary Signals: Forms of Color
A zine combining poetry and visual works. Design and artworks by J. Alexander Stevens, poetry by Emily Dickinson. Preliminary signals was created to experiment with a design that could combine visual and textual art as complimentary and whole. My goal it to fund a first edition print with perfect binding and quality paper and color printing.
This zine is the first to feature my hand-drawn illustrations and graphic work. Four double sided pages feature full color images paired with snippets of philosophy from a range of authors. Each zine is clipped together with a 2″ sticker: a graphic reimaging of Picasso’s sculpture, “Death’s Head” from 1943.
Urbstract is a series of still lifes depicting ordinary objects and spaces through a method of perspective and framing that render the subject inscrutable and alien. The series aims to bring the viewer into a critical dialogue with the concept of world building through a reevaluation of the relationship between the urbanite and their environment. Each zine is eight full-color pages printed on archival linen paper 5.5″ x 4.25″ that fold out into a poster 11″ x 17″. Edition of 25 (sold out)
One In Woods
Developed in contrast to Urbstract, One In Woods is a series that explores the woods as a place of perceptual and material isolation in an ecosystem of natural interdependence. Objects from the woods are illuminated individually to create a sense of solipsism and a dialogue on the feeling of loneliness even within a highly integrated environment. Twelve pages, archival 8.5″ x 11″. Edition of 100
A body of work on the emotional and material pallet of Winter. Sixteen pages, archival 8.5″ x 11″. Edition of 100
Unfortunately, I Was Dead
I consider this work to be a literary study of algorithmic compression. Much like the artifacts created by processing audio and visual data, the digital compression of Shakespeare’s poetry is rife with insightful glitches and oddities. The results are amusing, sometimes even poetic, but they also speak to a globalized, digital modernity in which both classic and emerging forms of culture are being created, shared and distributed across unprecedented linguistic, cultural, and geographic divides. 24 pp. 5.5″ x 4.25″ Cover ‘glitched’ by John Stevens, orig. “The Flower”
All My Eyes See
A collection of eyes captured in immaculate detail. My only zine featuring human subjects, the portrait is made so as to decontextualize the sitter from their environment and the complexities of the social body, leaving only what can be gleamed from a few square inches of flesh and bone. Looking at them, one is struck by the horizon of the familiar yet unknown, the depth of individuality staring back and through the viewer. Each zine is a collection of four double-sided cards printed on heavy, archival card-stock 5.5″ x 4.25″. Edition of 25