This week Miranda speaks with artist and collaborative printer Nathan Catlin—Master Printer at the LeRoy Neiman Center for Print Studies at Columbia University—whose practice spans relief, screenprint, mosaic, stained glass, and an ever-growing love affair with clay. We get into Nathan’s origin story (the heartbreak + linocut era), why the physicality of carving still feels like home, and how he keeps his own narrative prints clean and focused while helping other artists make wildly ambitious editions. We talk shop about trust in collaboration, the perils of pedantry, and projects that push the edge of “what counts” as print—from boomboxes packed with ephemera to playable records in thrift-store suitcases. We also talk about teaching at Columbia (and previously RISD and City), why prints remain the most democratic corner of the art world, and the quiet power of everyday moments—like a COVID-era bathroom haircut—pressed into permanence.

Nathan's Website

Nathan's Instagram

Hello, Print Friend Residency in Chiang Mai, Thailand

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This week Miranda speaks with Jessica Sabogal an artist whose work lives at the intersection of public space, portraiture, and collective care. Raised in a Colombian immigrant household in the Bay Area, Jess took a winding road from pre-med to political science to the studio and the street, scaling early stencil experiments into landmark murals and all rooted in print.

They talk about her journey to finding her visual voice of bold portraiture rooted in intimacy, interview, and symbolism. As well as her ongoing collaborative practice with partner and printmaker Shauna Strauss and their multi-year project “This Woman’s Work,” honoring the often-invisible labor of women, femmes, and nonbinary folks through layered processes like photopolymer, screenprint, and chine collé. And so much more!

Jess's Website

Jess on Instagram

Taller Sanaa

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This week Miranda speaks with Patrick Miller and Patrick McNeil—better known together as FAILE.

Since meeting on the very first day of high school, the two have been creating art side by side for over twenty-six years. What began with trading sketchbooks in Arizona grew into a wide-ranging practice rooted in printmaking—particularly silkscreen and stenciling—and expanded into painting, sculpture, large-scale public installations, and even immersive nightclubs.

In their conversation, they trace FAILE’s evolution: from cutting stencils in garages and late-night sessions in college print labs, to bringing their layered, frenetic aesthetic from the streets of Brooklyn all the way to Lincoln Center and Times Square. Along the way, they talk about the push and pull between street and studio, the role of music and photocopy culture in their work, and how parenthood and time have reshaped their creative lens.

Whether it’s a 40-foot tower at the New York City Ballet, a nightclub floor covered in hand-pulled prints, or a massive tiled facade soon to be unveiled in Manhattan—FAILE continues to expand what printmaking can be while staying true to the collaborative spirit that started it all.

FAILE's Website

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This week we’re coming to you from Miranda’s living room sofa in Chiang Mai, Thailand. Our guest is the brilliant Onnie O’Leary, a tattooer and visual artist from Sydney, Australia, who has just wrapped up a three-week guest residency at Hello, Print Friend Studios.

Onnie and Miranda dive into what it’s been like living and working together under one roof, how tattooing and printmaking share a surprising number of parallels, and the magic that happens when creative collaboration is allowed to bloom. They talk about ghosts, guts, glowing girls, and the deep human connection found in making art side-by-side.

It’s a warm, funny, and heartfelt conversation about inspiration, pressure, and why sometimes the final artwork is just the byproduct of something even more beautiful.

Onnie's Website

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Onnie's Published Prints at Hello, Print Friend Studios

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This week Miranda speaks with Javier Moreno, a San Juan–based artist, printmaker, and art educator whose work explores the social and political complexities of Puerto Rican identity with bold, graphic clarity.

From his early days sketching graffiti to discovering printmaking in college, Javier shares how his artistic voice developed alongside a deepening awareness of colonial histories, community struggles, and the power of collective action. They talk about skeletons, socialism, and what it means to make beautiful images that still pack a political punch.

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This week Miranda speaks with Rob Swainston and Zorawar Sidhu just after their powerful exhibition Flashpoint closed at Petzel Gallery in New York.

In this conversation, they talk about the complex relationship between image-making and meaning in an age of media saturation—from their early collaborative experiments to the deeply layered woodcuts responding to climate change, civil unrest, and political anxiety. They explore what it means to "think like a printmaker," the emotional weight of working with tragic imagery, and how labor itself can be a form of staying present amidst the chaos.

Their process is as layered as their prints—technically rigorous, conceptually rich, and unapologetically political. If you've ever felt overwhelmed by the flood of images on your phone, this conversation offers a powerful counterpoint: one of deep looking, slow making, and artistic resistance.

Rob Swainston and Zorawar Sidhu at Petzel Gallery

Zorawar Sidhu's Website

Zorawar's Instagram

Rob Swainston's Website

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This week Miranda speaks with artist and printmaker Aristotle Forrester, whose journey from skateboarding the streets of South Side Chicago to Columbia University’s MFA program is as rich and layered as his artwork. We talk about how printmaking keeps him grounded in the chaos of the studio, the spiritual and ancestral power of abstraction, and what the press bed has to do with decolonization. Aristotle shares stories of growing up with a powerhouse artist mother, how a Joan Mitchell painting cracked open his sense of what painting could be, and why print shops remind him of monasteries and skate parks. From Frantz Fanon to Dragon Ball Z, from late-night resistance prints to 16th-century engravings, this episode is a passionate ride through history, identity, and the revolutionary magic of ink on paper.

Aristotle Forester's Website

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This week, Miranda speaks with Phinney Brown, Executive Director of Crow’s Shadow Institute of the Arts. They discuss how Crow’s Shadow’s printmaking residencies invite Indigenous artists from a range of disciplines—often new to printmaking—to explore the medium. The conversation also highlights the significance of the institute’s location on the Umatilla Reservation in Oregon, and looks ahead as Phinney shares plans to expand their printmaking program while remaining deeply rooted in their community-based mission.

Crow's Shadow Institute of the Arts

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