Tiffany Besonen and LouAnn Shepard Muhum

i am water

Tiffany Besonen

Tiffany Besonen

I am smoke
when I can be

More often
I am water

In the shape
of my container

─ LouAnn Shepard Muhm

i am water is Tiffany Besonen’s interpretation of the poem I Am Smoke When I Can Be, by poet LouAnn Shepard Muhm. The work is made from sewing pattern paper, paint, artist’s ink, wax and ink.

Tiffany Besonen is mixed-medium artist living in rural Minnesota, and has taught art in the Minnesota public schools for 20 years. She works both two and three-dimensionally, often using traditional sewing pattern paper as a medium inventing processes to use the material without losing its delicate and translucent qualities. Since 2010, poet LouAnn Shepard Muhm and Tiffany Besonen have been collaborating to create a collection of incantation bowls, Muhm’s incantation poems against fears are inscribed on Besonen’s translucent sewing pattern bowls with illustrations of surreal fox and crows in the centers. i am water traveled throughout the United States with the exhibition, The Veil: Visible & Invisible Spaces, from 2007 to 2013.

LouAnn Shepard Muhm is a poet and teacher from northern Minnesota. Her poems have appeared in Dust & Fire, The Talking Stick, North Coast Review, Alba, Red River Review, Eclectica, Poems Niederngasse, and CALYX, among other journals and anthologies. She was a finalist for the Creekwalker Poetry Prize, the Late Blooms Postcard Series and the Midwest Book Award for Poetry, for her full-length poetry collection Breaking the Glass (Loonfeather Press, 2008). She received the Minnesota State Arts Board Artist Initiative Grant in Poetry in 2006 and 2012, and has been featured twice in “What Light” poetry sponsored by the McKnight Foundation and the Walker Art Museum.

Laura Cesarco Eglin

Translations by Scott Spanbauer

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Laura Cesarco Eglin is the author of three collections of poetry, Llamar al agua por su nombre (Mouthfeel Press, 2010), Sastrería (Yaugurú, 2011), and Los brazos del saguaro (Yaugurú, 2015). A selection of poems from Sastrería was translated collaboratively into English with Teresa Williams, and subsequently published as the chapbook Tailor Shop: Threads (Finishing Line Press, 2013). Cesarco Eglin has recently published the chapbook Occasions to Call Miracles Appropriate (Lunamopolis, The Lune series, 2015). Her poems and translations have appeared or are forthcoming in a variety of journals, including Modern Poetry in Translation, MiPOesias, Eleven Eleven, Puerto del Sol, Copper Nickel, Tupelo Quarterly, Columbia Poetry Review, Timber, Pretty Owl Poetry, Spillway, Contratiempo, Periódico de Poesía, Metrópolis, and more. Her poems are also featured in the Uruguayan women’s section of Palabras Errantes, Plusamérica: Latin American Literature in Translation. Cesarco Eglin’s poetry will appear in América invertida: An Anthology of Emerging Uruguayan Poets (Ed. Jesse Lee Kercheval) forthcoming from the University of New Mexico Press in 2016. She is a co-founding editor of Veliz Books.

Scott Spanbauer is an editor and translator, and has taught Spanish at the University of Colorado at Boulder. His translations of Laura Cesarco Eglin’s poems have been published or are forthcoming in Pilgrimage, Coconut Magazine, Hiedra Magazine, LuNaMoPoLiS, Malpaís Review, and Blue Lyra Review.

Andrew Wille

BoatsSwan #1

High tide on the River Thames from Ham, January 2016, looking across to Twickenham and Marble Hill House. This stretch of the river – which includes parks, formal gardens, islands, stately homes, and cow pastures – is known as London’s Arcadia, and the view of it from Richmond Hill is protected by law: the Richmond, Ham and Petersham Open Spaces Act of 1902 is considered one of the earliest and most successful environmental campaigns in history. The towpath often floods at high tide.

On the other side of the river.

On the other side of the river.


Andrew Wille has worked in publishing for over two decades. He was managing editor and then senior editor at Little, Brown UK, acquiring and publishing many critically acclaimed and award-winning works of fiction and nonfiction. Subsequently, as a freelance editor, he’s worked for many of London’s most notable imprints, including Abacus, Element, Granta, HarperCollins, Little, Brown, Macmillan, Orion, Portobello, Pushkin Press, Random House, Simon and Schuster, and Virago. Wille is himself a writer and holds an MFA in Writing and Poetics from Naropa University, an MA in English Literature from University College London, and a BA in American Studies from Hull University. As an undergraduate I also studied at the University of New Mexico. He was a tutor at Naropa University’s Jack Kerouac School of Disembodied Poetics, where he taught creative writing and seminars in publishing for MFA and BA programs on campus and online.

Iain Biggs & Antony Lyons

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These three drawings (from a set of twenty) were made for a fifteen-minute film-in-progress ( by Antony Lyons and Iain Biggs, called Transgression (The Rising Waters), made for the Architectural Humanities Research Association (AHRA) international conference, 2013. Both the film – now being re-cut – and the drawings took as their starting point “transgression,” the geological term for: ‘‘a relative rise in sea level resulting in deposition of marine strata over terrestrial strata. The sequence of sedimentary strata formed by transgressions and regressions provides information about the changes in sea level during a particular geologic time’’

Lyons and Biggs share an interest in place, environmental change, and water landscapes, and the film explores questions rooted in physical, social and cultural relationships between land and sea, particularly possible human-influenced marine transgressions. The film aim weaves together original and archival material through documentary and poetic approaches, so as to create an imaginative bridging and transgressing of both disciplinary thinking and the culture of possessive individualism that underpins it.


Iain Biggs works as a doctoral supervisor, artist, and arts-led researcher with a particular interest in “deep mapping.” He is a Visiting Research Fellow at the University of the West of England, Bristol, and Bath Spa University and a coordinator of the LAND2, PLaCE International, and the Mapping Spectral Traces networks. He is the founder of, and an editor for, Wild Conversations Press and writes a regular blog at:

Antony Lyons trained as a geoscientist and has worked as an environmental sustainability advisor and designer, but now works as a landscape-based artist with a particular interest in water issues. In the last five years he has undertaken residencies in the West of England, at the Grand Canyon, USA, in Co Donegal, Ireland, and undertaken a sustainability-based creative visioning for regeneration areas in Sheffield, England; including implementation of landscape designs and new public realm art installations.

Lisa Suhair Majaj


Lisa Suhair Majaj, a Palestinian-American, is the author of Geographies of Light, winner of the 2008 Del Sol Press Poetry Prize, and co-editor of three collections of critical essays: Going Global: The Transnational Reception of Third World Women Writers (Garland/Routledge 2000), Etel Adnan: Critical Essays on the Arab-American Writer and Artist (McFarland Publishing 2002), and Intersections: Gender, Nation and Community in Arab Women’s Novels (Syracuse University Press, 2002). Her writing appears in over 100 journals/anthologies worldwide, and will be included in the upcoming exhibition Aftermath: The Fallout of War–America & the Middle East, at the University of Florida’s Harn Museum of Art. She lives in Nicosia, Cyprus.

Nan DeGrove

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I spent my childhood in the swamps and on the beaches of Florida. The BP oil spill disaster of 2010, and the devastation to the ecosystem that continues to unfold, angers and saddens me deeply.

I felt especially sad for the sea turtles. Thousands of turtles were killed, especially babies who, after making their perilous journey from their nests on the beach to water, and finally, with luck, out to open sea, rely on nurseries of seaweed “islands” to feed and mature. As the news of the spill became more and more horrific through spring and summer of 2010, these images came as visions and dreams, and the paintings emerged over the course of that year. We all come from the stars and are born from water, and we share the fate of our fellow creatures. Sea turtles can live as long as one hundred years or more, yet their survival is precarious. Six of the seven species of sea turtles on our planet are endangered, and the Gulf of Mexico is home to five of those species. The destruction of the web of life in the ocean, and on the beaches and precious bayous of the gulf, a direct result of the oil spill, continues, and will for countless years to come.

Nan DeGrove is an astrologer in Boulder, Colorado, with over 30 years experience, and a scholar of myth, folklore and sacred art. She is a visionary painter with special interest in the mystical images of saints and madonnas. In her “Saints” series she has sought to interpret these as portrayals of Divine Beauty, liberating them from their limiting and sometimes violent narratives of traditional religious context.

CB Follett

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CB Follett is the author of 10 books of poems, the most recent QUATREFOIL (2015), and several chapbooks, most recent is the BOXING THE COMPASS series (2014). AT THE TURNING OF THE LIGHT won the 2001 National Poetry Book Award. She is Editor/Publisher and general dogsbody of Arctos Press, was publisher and co-editor (with Susan Terris) of RUNES, a Review of Poetry (2001-2008). Follett has numerous nominations for Pushcart Prizes for individual poems, as well as nine nominations as a individual poet; a Marin Arts Council Grant for Poetry; awards and honors and been widely published both nationally and internationally. Follett was Poet Laureate of Marin County, CA, USA. (2010-2013)

Shireen Malik


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Shireen Malik has been a picture taker for as long as she can remember. People, places, things. The keeper of memories. Gradually, the passion for dedicated photography worked its way into her being. Photographing the natural world, the realm of infinite variety and constant change – sublime, powerful, beautiful, bizarre. Malik lived in south Florida for two years, photographing at the seashore most every day – capturing the many different moods of the ocean and the abundant life in and around the water’s edge. Walking or jogging, toting a camera or two, stopping for moments or hours, taking hundreds of photos for the occasional aha! shot and those surprises along the way. Her photos fdeatured on the website and in the catalogue for Water, Water Everywhere: Paean for a Vanishing Resource come from that Florida sojourn.