By Blake Sanders, Graphic Impressions Coordinator

This exhibition began in earnest two years ago, during the infancy of the newly minted Graphic Impressions, in an effort to recruit voices from SGCI’s membership who wanted to share perspectives and speak to the diversity of the organization in a way I, as a cishet white guy, should not. One of the first enthusiastic volunteers was Sharon Jue of Berkeley, California, a self-described printmaking beast and all around source of positivity and inspiration. When Sharon chose to highlight letterpress artists–printmakers we may see more often at a Wayzgoose than an SGCI conference–her method to expand the directive of inclusivity was immediately clear! Alas, not long after Sharon established the exhibition participants her life’s priorities–like so many during the pandemic–went through a sudden, unexpected, and thoroughly time-consuming reordering. In her stead I will do my best to do justice to her vision of the exhibition. 

Summer 2021, you will recall, remained a hotbed of social and political upheaval–particularly the growing threat to Asian Americans paired with the momentum from the protests and reflection following the deaths of George Floyd, Breana Taylor, Ahmaud Arbery, and so many others–so much of the work presented in this exhibition features those themes while being grounded in the letterpress tradition of activism and community, fostered by the proliferation of the multiple. At the same time, the work by the roster of artists Sharon brought together is filled with inspiration, wisdom, and quiet reflection. Often the duality of provocation and poetry are evident in the offerings from the same artist. Indeed, the title, Letterpress Saves My Soul Daily, is a testimonial to the healing potential of a precise, production oriented medium that is at once a tool for protest and societal change. 

Nearly all the artists speak of the pleasures of the press, the endless variations on a theme provided by type and furniture. This is evident in the streamlined, elegant work of Desiree Aspiras, as well as the dense presswork of Jen Graves. Jenny Wilkson expands on the repurposed history of metal and wood type with typographic explorations executed via laser engravers in collaboration with her husband. 

Many of the artists also speak to the camaraderie and community inherent in the letterpress shop. Javier Alba shares work that was informed by the collaboration and mentorship made possible by the establishment of Magianegra. Cindy Iverson founded Letterpress Central and The Paper Studio to spread the inky gospel of letterpress and printmaking. Lois Harada has the privilege of working in a commercial letterpress studio, then passing on her expertise to high schoolers at New Urban Arts. It’s clear the closeness a print shop provides promotes the democracy inherent to the original social media. 

I encourage you to use this exhibition as an introduction to all these artists, with the hopes you seek out more of their work, make connections, and embrace them as a vital contingent of the SGCI fold. While you’re at it, please do a deep dive into Sharon Jue and her work to get the fullest insight into just how letterpress can save our collective souls.