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

Aristotle Forester's Instagram

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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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