Kathy T. Hettinga ~ Pennsylvania

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Messiah College, Visual Arts: " Kathy T. Hettinga, Professor of Art and Design, works and teaches in design and the studio areas of artist’s books and digital images—for more than three decades balancing between embracing technology and critically examining its role. Professor Hettinga received the Barnabas Servant Leadership award for her service learning work in which she links students to non-profit design needs."

Kathy Hettinga: " The way I see the world is reflected in my art. Widowed at the young age of twenty-four, I was thrust into the maw of unbearable pain and unanswerable questions about death and loss; this sparked a steady and consuming response of creative work."

4 3 2 CRY
Fracking in Northern Colorado

By Kathy T. Hettinga
Rosendale, New York: Women's Studio Workshop, 2014. Edition of 46.

7.625 x 7.75"; 48 pages. Digitally printed on an Epson 9880 using archival inks. Fonts: Helvetica 1957, Helvetica Neue 1983, and Arbitrary 1990. Printed on Mohawk Superfine 70lb Text. Bound in hard covers with cloth-covered boards. Aluminum compliance sign riveted on the front cover. Signed and numbered on the colophon by the artist.

Trade Edition (2016): 7 x 7"; 48 pages. Perfect bound. Mohawk Superfine 70lb text paper. Bound in black linen boards. In pictorial dust jacket. Signed by the artist on the colophon.

Women's Studio Workshop: "4 3 2 CRY exposes the effects of hydraulic fracturing for natural gas upon families, land, air, and water in Hettinga’ s former home in Northern Colorado. After a 34 year absence, the author returns to the Johnstown Farm, a home she shared with her young husband, who tragically lost his life in a farming accident. The book is a meditation on personal loss as well as a lament for a community transformed by drilling operations and leads to the author’s call to stop hydraulic fracturing in the USA.

WSW, blog: "It was there [Johnston Farm] she once lived with her husband Duane, raised chicks in the basement, and reveled in the clear, open landscape. What she found upon returning was a region transformed by hydraulic fracturing, or fracking: well pads puncturing the farmhouse’s backyard, condensate tanks dotting the horizon, a haze hanging in the sky.

'Affixed to the condensate tanks were diamond-shaped, Mondrian-like signs in ironically playful primary colors, emblazoned with peculiar numbers and codes. 'I didn’t understand; these signs looked like they were for children,' says Kathy, 'and then I found out they meant this stuff could kill you.'

"The signs were the National Fire Protection Association’s 'hazard diamonds' used by emergency personnel to quickly identify hazardous material risks—and they quickly became the visual and thematic point of entry for …
4 3 2 CRY: Fracking in Northern Colorado. For the book, Kathy created her own coded sign using the numbers 4, 3, 2 and the cryogenic code 'CRY' to symbolize a 'Countdown to Environmental Lament' she says, where 'CRY' works as 'both a wailing, and a freezing of the heart against environmental stewardship.'

"Kathy is a content-driven, Pennsylvania-based artist working at the intersection of design, photography, digital printmaking, and book arts. With maximalist abandon, 4 3 2 CRY embraces technology even as it implicitly questions it: using digital sourcing, imaging, and printing, and reveling in Kathy’s interest in working somewhere between mass production and fine art. …

"The digitally-printed, hand-bound book … mediates on twin narratives of loss inspired by her visit to Johnstown Farm: the tragic death of her husband and the destruction of land, air, water, and families in what is now one of the most densely drilled areas in the United States. On the outside,
4 3 2 CRY mimics the condensate tanks along Colorado’s horizon, each book wrapped in drab book cloth with an actual aluminum NFPA hazard diamond riveted onto its cover. On the inside, 4 3 2 CRY‘s 48 pages are packed with visual and textual information: satellite maps, personal photographs, screenshots from websites, scrawled handwritten annotations, and technical text and narrative poetry are digitally juxtaposed to create rich surfaces and textures. Aerial maps of the drilled earth’s terrain create strikingly abstract, patterned compositions decoded by Kathy’s text.

"The hazard diamond echoes throughout the book, folding out three dimensionally and working as chapter markers to guide readers through Kathy’s dense, meticulously researched narrative. Like the satellite technology it references,
4 3 2 CRY zooms in as it progresses. Chapter by chapter (“4”, “3”, “2,” and “CRY”), readers begin by looking at aerial maps of Colorado’s drill sites, then enter the town of Greeley, peer into vignettes of Kathy’s idyllic life and love on the farm, and bear witness to Duane’s early death—all the while uncovering, in parallel, the mechanics and effects of fracking in increasing detail. The result is a collaged, interwoven atlas of mourning and imminent loss."
$69 Trade Edition
$650 WSW edition (Last Copy)

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Like Bees Consumed as Burning Thorns
Narrative Reflection

By Kathy T. Hettinga
Dillsburg, Pennsylvania: Kathy T. Hettinga, 2011. Edition of 25.

3 x 4"; 14 pages. Flutter book. Printed on archival inkjet on Mohawk Superfine 100lb text. Printed in Minisystem and Arial Narrow fonts. Wrap around cover. Endsheets of straw/handmade rice paper. Signed and numbered by the artist.

The artists' book as personal narrative of faith and courage.

Kathy Hettinga: "In the book modern day enemies – such as cancer and others unnamed – swarm like bees, yet are consumed as burning thorns. The book contains digital images of my own cancer cells, and vector illustrated bees. ... The book begins at the beehive in Christ in the Desert (NM) with Sister Benedicta using her scapular to chase bees from my hair."

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the Madonna hears: your prayers your petitions prejudicial statements
I am NOT AFRAID of pink anymore [are you?]
BLUE is better [everyone knows]

By Kathy T. Hettinga
Dillsburg, Pennsylvania: Kathy T. Hettinga, 2009. Edition of 20.

Three one-sheet books, each an 8-page pamphlet (6 x 8.5") that opens into a 17 x 25" poster. Printed on an Epson printer with archival inks onto Mohawk Superfine (100lb. text, eggshell, soft white). Fonts: DIN, Caslon Old Face.

In 'the Madonna hears' (Book 1) quotations are attributed to original sources, and the small images of Madonnas are documented as to location. Using quotations drawn from women's narratives that span the 1930s to the 1980s, the first book, 'the Madonna hears,' looks at the historical prejudice women encountered in employment interviews, gaining admission to medical schools, and the like during much of the 20th century. The Madonna images are folk art forms from the cemeteries in the San Luis Valley, an expansive alpine valley in Colorado and New Mexico.

Kathy Hettinga: "The second book, I am NOT AFRAID of pink anymore [are you?], takes the topic further with a bit of humor. Pink paint and pink plastic flowers (also from the San Luis Valley cemeteries) fill the pages, and the book opens into a large Madonna poster with a pink petunia.

"The third and final book, BLUE is better [everyone knows], has blue paint, blue silk flowers, and blue ribbons, yet ironically also has a good deal of pink and yellow. This book opens to a poster of a blue-clad ceramic Madonna on a wood stake with a broken crown of pink flowers and a wrought iron fence in the background."

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Cupid's Cay, Bahamas, 1994-2007
Governor's Harbor, Eleuthera

By Kathy T. Hettinga
Dillsburg, Pennsylvania: Kathy T. Hettinga, 2007. Edition of 20.

7 x 8.25"; 35 pages with many foldouts, some scored vertically so that by folding and unfolding multiple views are possible. Archival inkjet on Epson 4000. Spiral bound. Font: Annifont and Faceplate Sans LE. Papers: Mohawk Superfine 100 lb (text); German Etch (cover); newsprint rice (endsheets).

A photographic documentation of the passing of a decade-plus on Eleuthera one of the out islands of the Bahamas) which was the first republic in the New World, and the first European Settlement in the Bahamas.

Kathy T. Hettinga: "I have extensively photographed the island of Eleuthera, as well as Harbour Island, and Spanish Wells, beginning in 1994, continuing in 1997, 1999, 2001, and 2007, while co-leading a Cross-cultural course for Messiah College students....

"This book focuses on the settlement of Cupid's Cay, and also includes some of my first experiences. The most seminal is that of Mrs. Sawyer singing gospel songs, and playing her tambourine in her modest home on Harbour Island. Her generosity in using her last sugar to bake us a cake stays in my memory....

"The way the Bahamians live graciously with natural beauty, often in poverty, reminds me inexplicably of the poor rural area where I grew up — the San Luis Valley in Southern Colorado. In the settlements of Eleuthera, I have photographed the same colorful homes, many times through the years. These are arranged chronologically, showing changes over more than a decade. The effects of time visible."

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Page last update: 11.28.17


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