Prints + Process

Prints + Process Quarter Sheet Challenge

Prints + Process provides an artist with a solo exhibition to takes a look inside the process involved in completing a print project. Process could include prints, drawings, proofs, films, and hand written notes… some that represent substantive changes in direction, others that don’t.

Upcoming Exhibitions

There are currently no Prints + Process exhibitions scheduled at Second State Press. Please check back again soon or email for more information.

Past Exhibitions

Justine Kelley: Worm Moon

March 1- March 31

Opening Reception: March 9th, 6-9 PM, on view through March 31st.

We are pleased to present the prints of Justine Kelley. She screen prints whimsical and complex worlds by using colorful hand-drawn layers. Nature, animals, and women are often the subject of her prints and zines.

In Kelley’s words:
At the time of this spring Moon, the ground begins to soften and earthworm casts reappear, inviting the return of robins. This is also known as the SapMoon, as it marks the time when maple sap begins to flow and the annual tapping of maple trees begins.

Justine is a printmaker/designer/illustrator living in Philadelphia.

To find out more about Justine Kelley's work please visit

Prints + Process: Mollie Goldstrom

Opening on Thursday, October 13th and on view through Sunday, November 27th

We are pleased to present the Prints + Process of Mollie Goldstrom. She will exhibit recent etchings, along with drawings, research, and other critical components to her process. The image here shows preliminary stages of a speculative narrative of time travel and seaweed, human endeavor and folly in drawing and print, enriched by visits to the Rare Book Room of the Brooklyn Botanic Garden and late night readings of Lucy Kavaler’s ‘The Wonders of Algae’ (1961).

In Goldstroms words:

The sun was hot. Neddy Merrill sat by the green water, one hand in it, one around a glass of gin.
John Cheever, “The Swimmer”

Summer bathers float, immersed in undulating, green mats of Enteromorpha prolifera.

Lucy Kavaler sits at her desk, contemplating how to capture, in prose, an organism that ranges from the unicellular to the complex multicellular: Multiplying in toxic blooms in the hypoxic ocean, is it a harbinger of end times? Fuel, food, fertilizer, will our hopes and dreams proliferate on beds of agar?

A lone figure emerges from the waves, trailing tendrils of Ascophyllum nodosum across sun-warmed granite, and with the tangled strands, spells the word A-L-G-A-E

REAM II: An Exhibition of Screen Prints in Progress

April 14th through May 31st, 2016

REAM II is the second project from the REAM collaboration between Mark Rice (Philadelphia, PA) and Lou Joseph (Baltimore, MD.) In 2012 and 2013, Mark and Lou exchanged 500 drawings via the US postal service, mailing packets of drawings back and forth, adding and subtracting layers of drawing, painting, print, stencil, and collage until they were completed. REAM I took a selection of these drawings and blew them up as CMYK screen prints, connecting and organizing them into a loose framework, and exhibiting them in Baltimore in the summer of 2013.

REAM II is also sourced from the original 500 drawings. For this iteration, the artists create silkscreen stencils from the drawings, using them as raw material to be overlaid in contrasting colors, abstracting the original compositions to create new silkscreen monoprints.

All of these works are currently in progress.

On view are a selection of 24 ongoing works. When REAM II is complete, it will be a portfolio of around 100 prints.

Artist Bios:
Lou Joseph- Lou was born in Youngstown, Ohio, and has a BFA from Ohio Wesleyan University and earned an MFA from Indiana University in 2004. He moved to Baltimore in 2008, where he is the director of ICA Baltimore, the Visual Arts Specialist at the Baltimore Office of Promotion & The Arts, and teaches screen printing at MICA.

Mark Rice – is an artist and musician living in Philadelphia, PA. Rice grew up in Indiana, receiving his BFA in printmaking at Indiana University in 2003. In 2009, he attended the Rhode School of Design, receiving his MFA in printmaking in 2011. Rice was an artist-in-residence at Hub-Bub in Spartanburg, South Carolina, and then served as adjunct instructor of art history and drawing at University of South Carolina Upstate. Mark Rice is the recipient of the 2015 CRE Fellowship at Second State Press.

He currently works as the printmaking instructor and product designer at the Center for Creative Works, a non-profit vocational day program for adults with intellectual, physical, and developmental disabilities focused on therapeutic creative expression located in Wynnewood, Pennsylvania.

Alexis Nutini: Still A Lot Left

Opening Reception: March 10th, 6-9 PM, on view through April 2nd

We are pleased to present the Prints + Process of Alexis Nutini. Nutini will exhibit recent reductive relief prints along with his process.

In Nutini’s words:

Investigating and absorbing the surrounding visual world is a daily exercise. In the studio I internalize, translate and record these experiences using the graphic force of the woodcut and the steps and adaptation necessary to make a print. Interested in the creative journey as well as the outcome, I employ a reductive method that requires the block to be diminished in order to print subsequent layers. This visceral connection with process and problem solving has led me to make singular objects using printmaking techniques. The invisible subtext, inherent in the manipulation of various materials to create a new object, becomes a metaphor for how I am shaped directly and indirectly by my surroundings.

Artist Bio:

Born in Mexico City, Alexis Nutini received an MFA in Printmaking from the Tyler School of Art in 2005, a BA in Fine Art from St. Mary’s College of Maryland in 2000 and completed a Fulbright Fellowship in Barcelona, Spain in 2001. Alexis teaches as an Adjunct Professor at the Tyler School of Art in the Printmaking department and is a member of NAPOLEON, a collectively-run project space. He currently works in his South Philadelphia printshop Dos Tres Press, where he makes woodcut editions and print based projects.

To find out more about Alexis Nutini's work please visit

Justin Staller

Opening Reception: October 8th, 6-9 PM, on view through November 25

We are pleased to present the work and process of Justin Myer Staller. Justin’s work employs photographic collage with a combination of screen printing and photopolymer printing with imagery focused on found mark making and altered landscape.

Text written by Justin Myer Staller:

Lets start this essay with an introduction; my name is Justin Staller, I’m 35 years old and I drive a lot.  The good thing is that most of the city I end up traversing on my way from Fishtown is really beautiful, contrastingly beautiful in some regards.  Since I spend a lot of time in the car I’ve grown accustom to eating while driving, changing CD’s, and photographing.  I find that the repetition of the commute helps me focus, I’m curious about what I am anticipating at certain points along the way; what landmarks have I created for myself?  A lot of photographers are interested in the unexpected, the fraction of a second in time and I guess I’m interested in the opposite.

The two pieces presented at Second State have imagery pulled from the most consistent moments in this daily routine.  My neighborhood is in constant construction and transition, especially along the I95 corridor, and the land is dug up and filled with giant mounds of dirt, stone, rubble.  At some point I began to obsess over this shape, the heap, and I’ve worked on articulating it in a number of pieces.  In “Marigolds” the heap of stone works like an iceberg, just sticking out of the surface and everything else falls under it.  The dots in the piece are a reference to the design by Jason Gnewikow’s for his band The Promise Ring’s record Nothing Feels good.  At the bottom you see the beautiful trees of Chestnut Hill along Chresham Valley Road.  The piece works in a hierarchy that mimics my day; 95 grit, listening the Promise Ring, arriving in the suburbs.
I’ve described my desire and motivation to make prints at times as an “excuse to listen to music” and I think driving belongs in that category as well.  There is something so unique about being out on the road with a really well curated selection of music.  I really can’t imagine a better way to spend a day.
The dots have been apart of my work for as long as I was making prints.  For me they really symbolize music.  Back when I was at Penn State I was doing a lot of acetone transfers of color photocopies.  When I would work with a b/w image the copier at Kinkos would automatically read it b/w and produce a low res version of my image.  I discovered a sticker pack of labels, multi colored, that I could attach to the edges of the photograph on the copier that would trick the machine into reading the image as a full color image.  The plan was to remove the dots before transferring but eventually they made their way into my work.  In many ways my contemporary practice is about working back to the initial instincts that I had in the first years of making prints, just in a safer way.
Technically in these two pieces we are talking about a combination of 4 color intaglio-type with screen print and pencil.  I have been a staunch proponent of ImagOn film since I started graduate school at RIT in 2003.  I worked with Keith Howard, I learned how to use the film, and like very few others, learned enough to bring it out of that studio into my own.  In many ways making my CMYK plates is replacing the photo transfers I worked on 17 years ago.  The intaglio plates are printed with AKUA inks, designed by Susan Rostow for this specific type of printing.  Digital photographs, turned into intaglio plates and then reprinted as photographs have a hard time translating via the web.  I work with uneven edges, plate marks, open bites to demonstrate to the viewer that what they are seeing is not a digital print.
In addition to the two finished prints, I’ll be showing a collection of materials that help support and make up the finished work.


To find out more about Justin Myer Staller's work please visit

Kip Deeds, The “Alasktic” Series

Reception March 12th from 6-9 PM, on view through April 4th

Second State Press is pleased to present “Alasktic” by Kip Deeds as the most recent exhibition in our Prints + Process series.

In Kip’s Words:
The “Alasktic” series of prints are about travel between extremes (e.g. temperature, geography, culture). With some reflection, I know that the process of making these prints was also about dealing with itinerant circumstances. Preparatory drawings and prints were made in a number of different places including Pennsylvania, New Jersey, Michigan, Washington D.C., and Washington State. It is as if, instead of having many luxuries, I was only allowed to carry a backpack and a pocket knife. Limitations led to a certain crisp economy, each print process exists in a distinct place on the page. While a great territory was explored, pacing was considered and necessary energy was conserved so that an arrival at a distant destination and a point of completion was met.

To find out more about Kip Deeds's work please visit

Part and Parcel: the material resource and chronology of “On Any Given Day”

Opening Reception October 10th, on view through November 8th.

Seconds State Press is pleased to present new works by Shelley Thorstensen. The very first in our Prints + Process series, Part and Parcel offers us a glimpse of the expanded process that generates finished work by this important print artist.

To find out more about Shelley Thorstensen's work please visit