This week Miranda speaks with Elizabeth Williams de Garcia, an artist whose intricate copper line etchings bring together memory, domestic space, nostalgia, and the strange emotional lives of the objects.

Elizabeth grew up in Louisiana and Texas and discovered printmaking while studying at the University of Louisiana at Lafayette. Since then, her life and practice have taken her from the United States to Guatemala, the Netherlands, and back again, with each move requiring her to rebuild not only a home and studio practice, but a relationship to place and community.

Her work is extraordinarily rich in texture and detail: patterned fabrics, birds, bodies, flowers, furniture, household objects, and fragments of interiors accumulate into images that feel like memories caught somewhere between the familiar and the uncanny. Working exclusively in copper line etching, Elizabeth builds tone and atmosphere through painstaking networks of drawn lines, often spending months developing a single plate.

In their conversation, they talk about the pleasures of slow processes, why she returned to etching after years of painting, the relationship between moving and memory, and what happens when the aesthetics of your childhood begin to disappear. They also talk about the experience of repeatedly being an outsider, the surprising culture shock of returning to the United States, and the way printmaking studios can provide an almost instant point of connection when you arrive somewhere new.

They also get into Southern interiors, maximalism, crows bearing less-than-glamorous gifts, and why Elizabeth hopes looking at her prints can simply be, in her words, “a party for your eyes.”

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