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

FAILE on Instagram

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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

Onnie's Instagram

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

Rob's Instagram

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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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In this episode Miranda speaks Peregrine Honig. Peregrine is a multidisciplinary artist whose themes include pop culture, sexuality and consumerism and whose work is in the permanent collections of the Whitney, the Chicago Art Institute and the National Museum of Women in the Arts. They talk about the arc of an artist’s life—how identity, sensuality, gender, and power all come into play in her work and her business. As well as her early influences growing up in San Francisco of the 1970s and the search for the perfect line.

Cover photo by Paul Andrews

Peregrine's Website

Peregrine's Instagram

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This week, Miranda speaks with Pavel Acevedo. They talk about themes of oral traditions and community through his storytelling incorporating indigenous knowledge, anarchist communal values, and the interconnectedness between humans and nature. As well as his experience working with Maestro Shinzaburo Takeda and community-based Art Projects such as developing large collaborative print projects.

Pavel's website

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