http://www.suecarriedrummond.com/mfa-thesis daily 0.75 2015-11-02 https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439143327522-X1ILNWAMQH784KNXJMFQ/installation2.jpg MFA Thesis MFA Thesis Exhibition Installation View Rosenwald-Wolf Gallery The University of the Arts   https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439143327522-X1ILNWAMQH784KNXJMFQ/installation2.jpg MFA Thesis MFA Thesis Exhibition Installation View Rosenwald-Wolf Gallery The University of the Arts   https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439143290078-WJT928PFZS7KATCA9K2V/image-asset.jpeg MFA Thesis This body of work investigates emotional pain, touching on broader themes of absence, loss, and nostalgia. Through papermaking, printmaking, and bookmaking I explore how the past permanently marks us and the way in which every day losses, both small and large, accumulate over time. Considering different forms of damage and repair, I highlight the futility in attempting to conceal the past. Drawing from both a conceptual and process–oriented practice, my studio investigations focus on developing a visual language with which to address this pain and explore the markings of daily experience.   https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439143329017-MM8JBBCTP21L1XR2DN4R/S-Drummond-Trove.jpg MFA Thesis - Trove (2015) Handmade paper, translucent Yupo, letterpress; 15 boxes each 8" x 6" x 0.75" This work consists of fifteen objects resembling books, but instead of pages on the inside they contain an inset box, which holds a piece of handmade paper. In this work the paper within the inset acts as a signifier for the body, a fragment standing in for the whole, suggesting the accumulation and storage of past experiences of pain. The inset box is often used in book conservation and in Trove each one is labeled with a date and age. The objects become a collection of reliquaries, holding a metaphorical piece of the body. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439143485880-KQN04M2MNO7UCNXS31IL/Trove2.jpg MFA Thesis Detail https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439143486713-D3JMW02IP0R97S7QI352/trove4.jpg MFA Thesis https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439143328328-OY2YNOXDTKIC45WODTPD/Raw1.jpg MFA Thesis - Raw (2015) Monotypes on waxed Hosho and Mulberry papers; 24.5” x 17.25” Monotypes pulled on a Vandercook SP-20. They are created by dropping mineral spirits onto a plexiglass base and allowing the chemicals to break through the ink. The mineral spirits form fluid marks, creating openings that resemble tears or wounds. I fill in the openings with a deeper tones and darker colors to reference scabbing and by waxing the paper I give the print a flesh-like quality. The white gallery wall becomes an examination space, the stark white referencing a clinical environment. Each corner is pulled taut with a T-Pin, alluding to dissection and analysis. These images become specimens on the wall laid out raw for the viewers to inspect. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439225499191-FRSK49Z1OHY5PNWVKIZP/Drummond_3.jpg MFA Thesis Select Prints https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439225493243-2GAVH0ZEFXR0RC368C8U/Drummond_4.jpg MFA Thesis https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439225500377-U58SLNCNJZFOA0ZV5W0C/Drummond_6.jpg MFA Thesis https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439143328908-SGCE4AHUPLM1OJGMV9FI/raw2.jpg MFA Thesis Installation View of Raw and Whitewash it Away II https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439173417991-FB0GPKW65NCVSJMC68IL/whitewash1.jpg MFA Thesis - Whitewash it Away II (2015) Offset printing, pressure printing, and screen printing; 11.75” x 17.25” Offset lithography prints of a monotype illustrating a tear in clothing with a pressure print over the surface. Throughout the stack of 100 prints, the initial image is slowly covered by a silkscreen of white lace. This piece is an exploration of our obsessive and ultimately future attempts to conceal the past. It is fully realized by the way in which the oil based ink used in offset printing literally bleeds through the layers of white acrylic screen printing ink. This interaction is the residue of process and instead of concealing the mark serves to indicate what is below. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439175060619-N1FK42Y7VR7LA5M31T9I/whitewash+transition.001.jpg MFA Thesis Select prints from Whitewash it Away II, showing the accumulation of screen printing. During its exhibition I invited visitors to take a print from the stack. As they each removed a print, the tear/wound below becomes more visible and slowly exposed. This mimics the way in which we reveal our past to one another and how we empathize with each other by taking part in a shared experience. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439143327593-V88A94145IVSC653TLRK/Palliate1.jpg MFA Thesis - Palliate (2015) Monotype on waxed Hosho and Mulberry papers; 24.5” x 17.25” Palliate: (verb) make less severe without removing the cause; disguise the severity or gravity of. This piece considers the way in which we recover from damage through an investigation of materials and process. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439143328274-H3AY3C4PS7KUE11EF0C6/Palliate2.jpg MFA Thesis Installation view of Palliate and Through and Through https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439143651337-0DNVSOQ2AMSBKFZITM4K/Through1.jpg MFA Thesis - Through and Through (2015) Waxed handmade paper and sewing thread; 10.75” x 8.5” x 0.5” The handmade paper is dyed a deep red in order to reference the interior body. Throughout the stack, the pages are perforated with varying force and depth, visually evoking the experience of damage and deterioration. The book begins with very shallow marks that are hardly visible, but as the book progresses the perforations become more noticeable and the waxed paper more vulnerable to breakage. Towards the end of the book I introduce thread as a mending element that holds the page together or as an attempt to fill in holes within the sheet. Sometimes it creates a surface that is just as strong if not stronger than before, while serving as a futile repair in others. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439143658788-3338CFLL6E3IJ9G2QY8O/Through3.jpg MFA Thesis Select spreads https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439172947062-WEMG9DXWE1MPP0LK7RYG/Through4.jpg MFA Thesis https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1439143649133-ZN8JJPGEJGIZ4WHMHXCJ/Through%28detail%292.jpg MFA Thesis     http://www.suecarriedrummond.com/cid-tolkien daily 0.75 2025-04-16 https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1608538648812-O9V7SN75IDGYTIQ4VWIW/Trench_detail3.jpg Fiber https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744772339345-VFSZPPYPS2SET88XCN3B/continuous.jpg Fiber Continuous (2019- ) hand crochet mending on fragments of overbeaten abaca 22 shadow boxes (2 have been purchased) 5”x7” https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744772323861-O4QAWNYGG5DULH9W72GX/continous3.jpg Fiber https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744772314892-BKS7ISINK6G5E3W01IZZ/continous2.jpg Fiber https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744772630120-LN21HPW00N458K62K3HR/continous4+copy.jpg Fiber https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744772367584-28FAV4F4BARYLRV9WI02/continuous%28detail2%29+copy.jpg Fiber https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1608529990729-U2AR323DN107V4SURVT0/IMG_3163.JPG Fiber - Conserve and Sustain (2018) Crochet yarn embedded in handmade paper , woven with roving and yarn. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1608530001762-AD51YI16WPJQH7HCJMYD/IMG_3162.JPG Fiber - Conserve and Sustain (2018) Individual weaving https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1608530019453-D1P2V2V1EABYOS53BMNC/IMG_3165.JPG Fiber - Conserve and Sustain (2018) Detail https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424824305744-IL4RIZJLPCXV4SLL86R7/tench_3.jpg Fiber - Trench (2014) Trench is the result of a class taught by Maine-based fibers artist Warren Seelig, with experimentation and discovery as the only method of working towards a concept. He describes materiality as “a behavior and a need we have as artists and human beings to connect with the physical and sensual world [...] a phenomenon which is best understood through the experience of doing." Without an outline or sketch, Trench became a three-dimensional representation of the montypes in my Worn series, simply through making. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424824306827-FY3D8T3PKTVPTWAST57R/Trench_detail4.jpg Fiber Detail https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424824307153-LRO9A6SVZ4OAUO123XN1/trench_detail5.jpg Fiber https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424824305743-UEPAAA07LI1B1ZJBK1GR/Tench_detail.jpg Fiber https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424824306629-PTN1RMX8ZMLH47S6EX2T/Trench_detail3.jpg Fiber https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744810449392-H8TV45FN3CZXZAUOQZ9H/continuous%28detail%29+copy.jpg Fiber http://www.suecarriedrummond.com/binding daily 0.75 2025-04-16 https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424824820382-L8S9XTTYBNAJRSZ4NW1P/image-asset.jpeg Binding - Girdlebook https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424824820382-L8S9XTTYBNAJRSZ4NW1P/image-asset.jpeg Binding - Girdlebook https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424824782323-49QHEGZMD7REUQ4OXYW6/Girdlebook6.jpg Binding https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424824781850-CUDUM4RP2Y0SU1WIKEEY/Girdlebook4.jpg Binding https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424825146810-UY3JCO52IHYMB3H1B8U2/Bradel_detail2.jpg Binding - Bradel Binding https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424824988053-76XRIE4BSFZ512I5HL3U/bradel5.jpg Binding https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424824987692-ISN259JF61XW4PXISAZZ/Bradel2.jpg Binding https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424825587044-WC1B8PZXP5ZBDXSQZSFY/SimpleCaseConst3.jpg Binding - Simplified Case Construction https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1424825586534-6AP2YO50D7VU8D914TOQ/SimpleCaseConst.jpg Binding https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1608539326032-4OV6K6ESAZCOYHYXLOLZ/IMG_2571.jpg Binding - Enclosures Set of nesting conservation enclosures. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744773359061-4SFAZ390QX096K4SXZJM/IMG_3459.jpg Binding Spanish Account Book https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744774867339-0VFZTZMVSNLR6WY4B160/IMG_3460.jpg Binding Woven convervation structure (project completed at the American Philosophical society) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744775865741-4EBP91VRTBEOMBDDB8OU/IMG_3461.jpg Binding Slip Case (project completed at the American Philosophical society) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1608539350009-9NEQ00QDZEEOHHEOZD9H/IMG_2721.jpg Binding Decorative stitch binding for a 3, 5, and 7 signature pamphlet. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1608539454129-LVFDY17N9RTCZDYPPJZ8/IMG_4948.jpg Binding Caterpillar stitch http://www.suecarriedrummond.com/abeautifulsnare daily 0.75 2021-09-10 https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1631298766717-ZDC78HMBVUZ70LXQEWUA/IMG_23.JPG A Beautiful Snare https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1631296503776-N63EP1N1BZKPAHGCVSJJ/IMG_2020.JPG A Beautiful Snare https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1631296514551-5DY55Z48KB014Y388TB0/IMG_2022.JPG A Beautiful Snare https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1631296581848-BGO513EKUMLBB2YU08FL/IMG_2025.jpg A Beautiful Snare https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1631296574068-WRX5N997K4Q5DPOVW3YB/IMG_2007.JPG A Beautiful Snare https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1631296574855-QMPLL379F96VO2TU9PWP/IMG_2006.JPG A Beautiful Snare https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1631296578416-5NFTHE262B0MN8IQUE8O/IMG_2008.JPG A Beautiful Snare https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1631296580689-OEDSEMC1QZAK193NSM2W/IMG_2009.JPG A Beautiful Snare https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1631296584706-71NEXLR24GU03GCK7SS5/IMG_2026.jpg A Beautiful Snare https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1631296581333-NZM7S6UQ0SJD8T32UD0Y/IMG_2010.JPG A Beautiful Snare https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1631296593320-C9IAI6F7FDDBUVFAPBNN/IMG_2029.jpg A Beautiful Snare http://www.suecarriedrummond.com/the-mold-garden daily 0.75 2025-04-16 https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744764785537-P3QO10CKTYI16GCX0CKI/Install1.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744764785537-P3QO10CKTYI16GCX0CKI/Install1.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744744874065-HKCC9QSGEO9F69NZXQAX/MoldGarden_1%28detail2%29.png The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744765872681-5FCQDLUA1KCLMXKTVLSJ/TitleText.jpg The Mold Garden (2024) All text is vinyl adhesive installed transferred onto the wall. The color of the text varies between three tones of green. Each evokes a different voices and provides visual depth throughout the installation. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744766149844-88BRJAYSP6ZUHUC4FN2X/text.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744748160663-URC4CLGT44IBBLLSXS3L/Spread1.jpg The Mold Garden (2024) Monotypes and porchoir prints on Stonehenge paper. Spreads are 50” x 74” (and are functional popups). https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744748345179-AR0OV9205L53NIF4YT64/Spread1%28detail1%29.png The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744748489911-B0WA78CS7P578GSS4YJJ/Spread2.png The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744748528774-PZPGMXO8COQIX3BN9QY4/Spread2%28detail3%29.png The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744748509022-P0L87MWRSKRC348SL463/Spread2%28detail1%29.png The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744748741106-QJ7ASQSRTPINANG119S2/Spread3.png The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744748614690-CW848WOQQN5HQGRJG6AG/Spread3%28detail1%29.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744748732746-ERGL4VOBKWO4A9X9LABO/Spread3%28detail3%29.png The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744749279677-AMLZJL55UPUD5802DQY6/Spread4.png The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744749296534-NLVF5IBTR60AFT2FV68P/Spread4%28detail2%29.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744749332370-NZE3YUIRBJP4A20PMPYJ/Spread4%28detail3%29.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744765734367-YR0AEOFGATDV5M7XLURJ/Prints.jpg The Mold Garden (2024) Monotypes and porchoir prints on Hosho paper. Prints are 24”x30” https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744766974054-ICBONNEOGDW9TIK4M9IJ/text4.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744764190197-V0P9XBZ57RTJ6MJWZ10U/Spread5.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744764243040-A7H2EAVDJLBQBKG41MIG/Spread5%28detail3%29.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744764233325-A5A1V1HBN7NVT6RDN8N2/Spread5%28detail2%29.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744764258434-3TSSOAG44AMBHF31F70Q/Spread6.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744764258385-628LAHK8SJ5VI7IMZNO9/Spread5%28detail4%29.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744764292867-7LFKVKPN8IZOI771SDHZ/Spread6%28detail2%29.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744764325447-W64L4TRPIOLMXMNIE5PE/Spread6%28detail4%29.jpg The Mold Garden (2024) https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1744766781253-N9TZU87LLB2097LDBCU1/text3.jpg The Mold Garden (2024) http://www.suecarriedrummond.com/bio daily 0.75 2026-06-09 https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/9877f719-186d-432d-b4ca-2655c84acf23/INVITATIONAL.jpg Bio - About the artist Sue Carrie Drummond b. 1990, Santa Ana, El Salvador Sue Carrie Drummond is a papermaker, printmaker, and book artist. She’s currently an Associate Professor of Art and Chair of the Art Department at Millsaps College in Jackson, MS. Drummond was the recipient of the Artist’s Book Residency Grant at Women’s Studio Workshop in upstate New York in 2017. She’s been an artist-in-residence at Sulfur Studios in Savannah, the Kimmel Nelson Harding Center in Nebraska City, at Penland School of Crafts outside of Asheville, and at Minnesota Center for Book Arts in Minneapolis. She’s taught workshops at Women’s Studio Workshop, Pyramid Atlantic, Minnesota Center for Book Arts, and Sulfur Studios. Drummond regularly shows her work in juried and curated exhibitions across the country and many of her pieces are included in special collections nationwide such as the Metropolitan Museum of Art, Library of Congress, and Harvard University. She also has pieces in the permanent collection at the Bainbridge Island Museum of Art in Bainbridge Island, Washington, and the Lauren Rogers Museum of Art in Laurel, Mississippi. Drummond received her MFA in Book Arts and Printmaking at The University of the Arts in Philadelphia, PA in 2015. She graduated Phi Beta Kappa with Honors from Millsaps College in 2012 with a Bachelor of Arts in Studio Art and minors in Art History and Museum Studies. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/34d06aae-dbd7-46f6-9891-d7d82de07628/IMG_1622.png Bio STATEMENT My artwork examines material culture, extracting tacit narratives from objects, surfaces, and ornamental forms. The potential for meaning in these materials is directly connected to the way they are shaped by use, labor, and time. Materials receive us, holding not just our personal histories but also broader cultural and historical narratives. Through processes of making, repetition, and transformation, they bear the traces of lived experience and reveal the ways identity, relationships, and systems of value become embedded within the physical world. I am drawn to labor-intensive processes that require meticulous attention and repetition, such as papermaking, printmaking, and handwork. The care and attention required by these processes becomes visible in the finished work. As I work, I consistently consider surface. What sits above, within, or beneath? What is revealed or concealed? What is hidden, mended, constrained, or exposed? The physical layering of materials and processes throughout my work evokes the layers of memory, history, and meaning I investigate. http://www.suecarriedrummond.com/new-page daily 1.0 2026-06-09 https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/0c53f919-d155-475e-8b6e-574e282f90fd/A-Beautiful-Snare_detail-crop-scaled.jpg New Page - Artist. Educator. Creative Practice. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781025552025-2Z2F2YB3PZ8VHNQP39U0/Sample+pattern.webp New Page - Sample Pattern https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781025756014-AMQI31HNCBNTA5XFYBJ9/Mold+Garden+2.webp New Page - The Mold Garden https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781025534513-V82E2CKVB6XZJB2Y71X1/Beautiful+Snare.webp New Page - A Beautiful Snare https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781034383901-MJHY1N0IB0FBSU0VDO1U/A%2BDarning%2BStitch.webp New Page - A Darning Stitch https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1f027415-f80b-4ce2-85a8-f3e6f3f58b1e/IMG_4486.JPG New Page - WORKSHOPS AND CREATIVE RETREATS Creative learning experiences for curious people. From hands-on studio workshops and traditional craft techniques to immersive retreats and place-based adventures, these programs are designed to help you explore new ideas, build skills, and reconnect with the joy of making. http://www.suecarriedrummond.com/new-page-3 daily 0.75 2026-06-09 https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/361bd9f0-f37f-4975-9467-63c1f0dd0775/IMG_6591.jpg Learn - Field Trips Day-long creative excursions where we draw, write, and work from direct observation in specific locations. Includes guided prompts, demonstrations, and structured time for sketchbook work. Focus: observation, drawing, visual journaling https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/e484263b-f8e6-44e7-aad5-06d579d7a1f4/Art+Classes+2017+-+2.jpg Learn - Material Workshops Hands-on studio workshops focused on material exploration, process, and craft-based making. Workshops introduce techniques such as papermaking, printmaking, cyanotypes, or bookbinding. You’ll work directly with materials while learning foundational skills through guided instruction and structured open studio time. Includes step-by-step demonstrations, focused making time, and space for experimentation with process and technique. Focus: material processes, skill-building, and experimental making. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1440112371435-P7OWWBF2Y8K73VIUIGRA/IMG_5538.JPG Learn - Studio Sessions (Private Instruction) One-on-one studio sessions focused on papermaking, technical training, and project development. These sessions are designed for artists who want individualized support—whether learning foundational papermaking techniques, developing specific skills, or completing a project that requires access to a studio and guided feedback. Work can take place as a single day session or over multiple days, depending on availability and project scope. Sessions include hands-on instruction, technical troubleshooting, and creative problem-solving tailored to your work. Focus: papermaking instruction, skill development, and project-based studio support http://www.suecarriedrummond.com/new-page-2 daily 0.75 2026-06-09 https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/e801a4b3-c5ca-46ad-97bd-1a9244f63287/IMG_6856.jpg Contact Me - Make it stand out Whatever it is, the way you tell your story online can make all the difference. http://www.suecarriedrummond.com/books daily 0.75 2026-06-10 https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781055221343-DDPJBNGZG0UL74ZABHTL/S-Drummond-A-Darning-Stitch-3.webp Artist Books Silk screen, letterpress, and blowouts on handmade abaca and cotton paper (2017) 10” x 11” This book explores the concept of an invisible mend, contrasting the mend of a garment with the attempt to mend a relationship. A darning stitch is a sewing technique used for repairing worn areas in fabric, an attempt to make the repair as neat and invisible as possible to restore a piece of clothing to its original state. Instructions and diagrams for darning are printed on overbeaten abaca paper, while on cotton paper are images of fabric alongside a narrative of a marriage. The cotton spreads are visible beneath the translucent abaca sheets, juxtaposing this story against the clear and straightforward instructions for mending clothing. The images of torn cloth are created using the blowout technique, further emphasizing the moments of damage and wear both within the fabric and within the relationship. Published by Women's Studio workshop. This book was made possible through an artist residency and the Artist's Book Grant from WSW, in addition to a Project Assistance Grant from College Book Arts Association. The book is 44 pages and the edition size is 47. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781054040793-QQRZ2PQ108YQF3VCY25C/S-Drummond-A-Darning-Stitch-2.webp Artist Books Silk screen, letterpress, and blowouts on handmade abaca and cotton paper (2017) 10” x 11” This book explores the concept of an invisible mend, contrasting the mend of a garment with the attempt to mend a relationship. A darning stitch is a sewing technique used for repairing worn areas in fabric, an attempt to make the repair as neat and invisible as possible to restore a piece of clothing to its original state. Instructions and diagrams for darning are printed on overbeaten abaca paper, while on cotton paper are images of fabric alongside a narrative of a marriage. The cotton spreads are visible beneath the translucent abaca sheets, juxtaposing this story against the clear and straightforward instructions for mending clothing. The images of torn cloth are created using the blowout technique, further emphasizing the moments of damage and wear both within the fabric and within the relationship. Published by Women's Studio workshop. This book was made possible through an artist residency and the Artist's Book Grant from WSW, in addition to a Project Assistance Grant from College Book Arts Association. The book is 44 pages and the edition size is 47. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781054039068-IP0QN9Q31Z3FQA2P1HL1/detail.webp Artist Books Silk screen, letterpress, and blowouts on handmade abaca and cotton paper (2017) 10” x 11” This book explores the concept of an invisible mend, contrasting the mend of a garment with the attempt to mend a relationship. A darning stitch is a sewing technique used for repairing worn areas in fabric, an attempt to make the repair as neat and invisible as possible to restore a piece of clothing to its original state. Instructions and diagrams for darning are printed on overbeaten abaca paper, while on cotton paper are images of fabric alongside a narrative of a marriage. The cotton spreads are visible beneath the translucent abaca sheets, juxtaposing this story against the clear and straightforward instructions for mending clothing. The images of torn cloth are created using the blowout technique, further emphasizing the moments of damage and wear both within the fabric and within the relationship. Published by Women's Studio workshop. This book was made possible through an artist residency and the Artist's Book Grant from WSW, in addition to a Project Assistance Grant from College Book Arts Association. The book is 44 pages and the edition size is 47. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781054038655-K0HY2E4I6K1QU8C56MB5/detail2.webp Artist Books Silk screen, letterpress, and blowouts on handmade abaca and cotton paper (2017) 10” x 11” This book explores the concept of an invisible mend, contrasting the mend of a garment with the attempt to mend a relationship. A darning stitch is a sewing technique used for repairing worn areas in fabric, an attempt to make the repair as neat and invisible as possible to restore a piece of clothing to its original state. Instructions and diagrams for darning are printed on overbeaten abaca paper, while on cotton paper are images of fabric alongside a narrative of a marriage. The cotton spreads are visible beneath the translucent abaca sheets, juxtaposing this story against the clear and straightforward instructions for mending clothing. The images of torn cloth are created using the blowout technique, further emphasizing the moments of damage and wear both within the fabric and within the relationship. Published by Women's Studio workshop. This book was made possible through an artist residency and the Artist's Book Grant from WSW, in addition to a Project Assistance Grant from College Book Arts Association. The book is 44 pages and the edition size is 47. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781054040219-2TBS319EP0GEFHV46ODR/detail3.webp Artist Books Silk screen, letterpress, and blowouts on handmade abaca and cotton paper (2017) 10” x 11” This book explores the concept of an invisible mend, contrasting the mend of a garment with the attempt to mend a relationship. A darning stitch is a sewing technique used for repairing worn areas in fabric, an attempt to make the repair as neat and invisible as possible to restore a piece of clothing to its original state. Instructions and diagrams for darning are printed on overbeaten abaca paper, while on cotton paper are images of fabric alongside a narrative of a marriage. The cotton spreads are visible beneath the translucent abaca sheets, juxtaposing this story against the clear and straightforward instructions for mending clothing. The images of torn cloth are created using the blowout technique, further emphasizing the moments of damage and wear both within the fabric and within the relationship. Published by Women's Studio workshop. This book was made possible through an artist residency and the Artist's Book Grant from WSW, in addition to a Project Assistance Grant from College Book Arts Association. The book is 44 pages and the edition size is 47. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781054402268-UHQ1IPV96JMTYJH5NMW6/S-Drummond-A-Darning-Stitch-4.webp Artist Books Silk screen, letterpress, and blowouts on handmade abaca and cotton paper (2017) 10” x 11” This book explores the concept of an invisible mend, contrasting the mend of a garment with the attempt to mend a relationship. A darning stitch is a sewing technique used for repairing worn areas in fabric, an attempt to make the repair as neat and invisible as possible to restore a piece of clothing to its original state. Instructions and diagrams for darning are printed on overbeaten abaca paper, while on cotton paper are images of fabric alongside a narrative of a marriage. The cotton spreads are visible beneath the translucent abaca sheets, juxtaposing this story against the clear and straightforward instructions for mending clothing. The images of torn cloth are created using the blowout technique, further emphasizing the moments of damage and wear both within the fabric and within the relationship. Published by Women's Studio workshop. This book was made possible through an artist residency and the Artist's Book Grant from WSW, in addition to a Project Assistance Grant from College Book Arts Association. The book is 44 pages and the edition size is 47. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781055424663-C83FI52Z742KZE1P6UDA/Adorned1.webp Artist Books The inspiration for this book comes from considering the way clothing imposes and impresses itself on the body. The pages alternate between cotton blowouts of lace patterns on translucent abaca and flesh toned sheets of paper embossed with the same pattern. Throughout the book, although the garment begins to deteriorate, the flesh below continues to carry the mark of the fabric; even once the lace is gone completely. The progression of the book mimics the way remnants of our experiences exist with us in the present, despite the moment being over and gone. The text explores how an experience can mark you and make it difficult to move forward without the expectation that history will repeat itself. This book was created while in residence at the Minnesota Center for Book Arts during the late summer of 2015. It was bound in 2016. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781054640962-P59WGKZR969PQN2HVOMP/Adorned%28cover%29.webp Artist Books The inspiration for this book comes from considering the way clothing imposes and impresses itself on the body. The pages alternate between cotton blowouts of lace patterns on translucent abaca and flesh toned sheets of paper embossed with the same pattern. Throughout the book, although the garment begins to deteriorate, the flesh below continues to carry the mark of the fabric; even once the lace is gone completely. The progression of the book mimics the way remnants of our experiences exist with us in the present, despite the moment being over and gone. The text explores how an experience can mark you and make it difficult to move forward without the expectation that history will repeat itself. This book was created while in residence at the Minnesota Center for Book Arts during the late summer of 2015. It was bound in 2016. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781054641210-BGFS8Y8P6LLN708DR7IK/Adorned2.jpg Artist Books The inspiration for this book comes from considering the way clothing imposes and impresses itself on the body. The pages alternate between cotton blowouts of lace patterns on translucent abaca and flesh toned sheets of paper embossed with the same pattern. Throughout the book, although the garment begins to deteriorate, the flesh below continues to carry the mark of the fabric; even once the lace is gone completely. The progression of the book mimics the way remnants of our experiences exist with us in the present, despite the moment being over and gone. The text explores how an experience can mark you and make it difficult to move forward without the expectation that history will repeat itself. This book was created while in residence at the Minnesota Center for Book Arts during the late summer of 2015. It was bound in 2016. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781054639858-44GXO5WDDSV97GMNH4ST/Adorned_detail.webp Artist Books https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781054639857-P5NONHVTV2T6HKCRBIYE/adorned_detail1.webp Artist Books https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781054642170-O8OOEAWTLSESDW9F015W/Adorned5.webp Artist Books https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781055566249-O4M3CAKLHE9P2SM6C73T/IMG_3588.webp Artist Books Consists of two books: a 6” x 4” accordion and a 4” x 6” drum leaf simple case bound book. The text was printed on a Vandercook SP-20 using type handset in 10 pt. Baskerville on handmade paper. The imagery was created using pulp painting, blowout techniques, and screen printing. A darning stitch is used to create an invisible mend on clothing. Using ambiguous directions (based on darning instructions) as text, this work explores the idea of mending in relation to emotional ruptures and how to recover when the damage is too great. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781054802650-2WNA5VV9XJULOHIKLCB1/IMG_3587.webp Artist Books Consists of two books: a 6” x 4” accordion and a 4” x 6” drum leaf simple case bound book. The text was printed on a Vandercook SP-20 using type handset in 10 pt. Baskerville on handmade paper. The imagery was created using pulp painting, blowout techniques, and screen printing. A darning stitch is used to create an invisible mend on clothing. Using ambiguous directions (based on darning instructions) as text, this work explores the idea of mending in relation to emotional ruptures and how to recover when the damage is too great. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781054802576-JZ5UG0BUUTLO1PW52LGP/Drummond_Darning2.webp Artist Books Consists of two books: a 6” x 4” accordion and a 4” x 6” drum leaf simple case bound book. The text was printed on a Vandercook SP-20 using type handset in 10 pt. Baskerville on handmade paper. The imagery was created using pulp painting, blowout techniques, and screen printing. A darning stitch is used to create an invisible mend on clothing. Using ambiguous directions (based on darning instructions) as text, this work explores the idea of mending in relation to emotional ruptures and how to recover when the damage is too great. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781055685734-AB99Z2MLG89WCCUPLUR5/vestige2.webp Artist Books Offset Lithography, printed in the Borowsky Center for Publication Arts at the University of the Arts, Philadelphia, PA (2014). As Peter Stallybrass writes in his article Worn Worlds, clothing "receives us: receives our smells, our sweat, our shape even [...] holding our gestures." In contemplating the tattered clothing I have held onto over time, its functionality long gone, I consider the way clothing retains memory but also a ghostlike presence. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781055670421-3SCVX7AHX4S7WB7TWR2K/vestige4.webp Artist Books Offset Lithography, printed in the Borowsky Center for Publication Arts at the University of the Arts, Philadelphia, PA (2014). As Peter Stallybrass writes in his article Worn Worlds, clothing "receives us: receives our smells, our sweat, our shape even [...] holding our gestures." In contemplating the tattered clothing I have held onto over time, its functionality long gone, I consider the way clothing retains memory but also a ghostlike presence. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781055670381-OCK6ZEO5A2BICFJ3XPNE/vestige6.webp Artist Books Offset Lithography, printed in the Borowsky Center for Publication Arts at the University of the Arts, Philadelphia, PA (2014). As Peter Stallybrass writes in his article Worn Worlds, clothing "receives us: receives our smells, our sweat, our shape even [...] holding our gestures." In contemplating the tattered clothing I have held onto over time, its functionality long gone, I consider the way clothing retains memory but also a ghostlike presence. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/1781055671626-P1K33R8DNVS6N8B2A0AH/vestige7.webp Artist Books Offset Lithography, printed in the Borowsky Center for Publication Arts at the University of the Arts, Philadelphia, PA (2014). As Peter Stallybrass writes in his article Worn Worlds, clothing "receives us: receives our smells, our sweat, our shape even [...] holding our gestures." In contemplating the tattered clothing I have held onto over time, its functionality long gone, I consider the way clothing retains memory but also a ghostlike presence. http://www.suecarriedrummond.com/handmade-paper-and-prints daily 0.75 2026-06-10 https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/f084f335-f01d-4f1d-9461-142fad251130/Insidious%2BDelicacy.webp Handmade Paper and Prints - Make it stand out I wanted to create an image that would change depending on how it was held, engaging with light and translucency. In past handmade paper projects I have focused on using the blowout method, however, for this piece I chose to create the bodice as a watermark in order to achieve a “reverse blowout.” In doing this, the gauzy cotton overlay of the corset watermark evokes the sheer quality of lace enhancing the materiality of the piece. It allows the pulp painting on the back to show through and lures a reader to flip the print. I am frequently thinking about surface and tactility, which is why I used two different fibers to further the conflict between lure and snare. Editioning handmade paper is always a process of troubleshooting, in this case figuring out how to order different layers of the print so as to laminate the two sheets together. I pulled the cotton sheet without a deckle to enhance the translucency of the watermark and because the design was so precarious I couched on top of the abaca sheet (taking advantage of its gelatinous surface to get the corset to stick). Embedding the pulp painting between the sheets entraps the lace drawing at the center and enhances the visibility of the design in the foreground. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/bb8db6cd-584f-46eb-878e-c1889e6fefc4/Henceforth%2B%28Handpapermaking%2Bportfolio%29.webp Handmade Paper and Prints - Make it stand out Edition of 125. All handmade paper. This print was created as part of Hand Papermaking Portfolio #14: The Language of Color. For the call, artists were asked to respond to the question: “What does color mean?” Below is an excerpt from the essay accompanying the portfolio, written by Bridget Donlon and published in Hand Papermaking Magazine, Volume 38, Number 1, Summer 2023: “Language itself is subject to interpretation and can be given alternative contexts. With Henceforth, Sue Carrie Drummond draws upon elements of Nathaniel Hawthorne’s 1850 The Scarlet Letter to reflect upon the perpetually complex nature of femininity and outdated but persistent expectations to perform it in public. A beautiful gradient from a cherry red to a dark charcoal black is the base of a misty veil of watermarked lace, a material that is paradoxically strong despite its delicate appearance. The waxy surface resembles votive candles that have melted and pooled, alluding to ecclesiastical rituals and adornments. The use of specific colors and patterns combine to signify social mores, structures, and other myriad associations.” The portfolio is held in several permanent and private collections, including The Thomas J. Watson Library at the Metropolitan Museum of Art. For more information or to purchase, click HERE. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/37dd2dbe-7022-43f2-9429-07ff57e5747b/Underlying2.webp Handmade Paper and Prints - Make it stand out This piece was an experiment in bringing the body more tangibly and dimensionally into my work. Using my own body and the sun, I created the cyanotype image, then toned it with sodium bicarbonate to deepen its visual texture. A layer of voile rests above the print, patterned with large-scale lace designs that reach toward the figure, partially obscuring it. The figure seems caught in a quiet tension—hovering between the urge to slip free and the comfort of staying tucked beneath the veil—much like the way we navigate the expectations we place on ourselves. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/57afb262-48e0-4a82-a6f0-9f097a319c76/Drummond_3%2Bcopy.webp Handmade Paper and Prints - Make it stand out This series of prints explores the gaze—how we offer it, withhold it, and internalize it. Each cyanotype is based on photographs I once sent to my partner during a period of long distance. Revisiting them, I realized I had cropped out my eyes in every image, subconsciously avoiding my own gaze—unwilling to confront myself while consuming my own body. Layered with sewing diagrams, these prints evoke the idea of "blueprints," hinting at the invisible patterns—desire, shame, longing—that shape our gestures and guide our performances, often without our full awareness. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/943456f8-563c-47de-a013-1e9dd973bc36/A%2BMoral%2BWilderness+%281%29.webp Handmade Paper and Prints - Make it stand out This print was created for the portfolio exchange Earth Mother, organized by Elizabeth Castaldo. The piece explores nature’s connection to the feminine spirit, especially in the context of exile and self-discovery. I was thinking of The Scarlet Letter as I worked—the way the forest becomes a refuge for Hester once she is cast out of Puritan society. Hawthorne writes: “She had wandered, without rule or guidance, into a moral wilderness as vast, as intricate, and shadowy, as the untamed forest […] Her intellect and heart had their home, as it were, in desert places, where she roamed as freely as the wild Indian in his woods…” In the unclaimed wilderness, Hester is free to shed social constraints and let her inner desires expand. This print honors that unruled space. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/6c382125-3ed7-425f-8b70-cb883982efac/A%2BDowry.webp Handmade Paper and Prints - Make it stand out In this work I explore the historical use of women as vehicles for the exchange of property and wealth between men through marriage dowries. It was part of an exhibition at the Lauren Rodgers Museum (in Laurel, MS) titled Collections Interventions. Artists were invited to choose a work from the permanent collection as inspiration for making a new piece. I chose a candelabra from the British Georgian Silver Collection because of its material tie to bridal gifts and affluence. Using design features from the candelabra, I built a female figure out of lace which is printed on separate sheets of translucent handmade paper. These sheets overlap one another to evoke the sense that the figures (i.e. objects) are inconsequential and interchangeable. This piece was purchased by the museum and is now a part of the LRM permanent collection. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/7e6aa537-61a5-49ac-b3f8-7bb9cce95ee2/Alterations.%2BInstall.webp Handmade Paper and Prints - Make it stand out This series considers how women must alter themselves during the process of marriage in order to fit into the expectations of a Wife. The lace garments in the foreground represent bridal clothes, the preparations for the upcoming wedding day. While the sewing patterns in the background act as a foundation for the garments, the expectations and designs a bride is expected to conform to in order to become a Good Wife. https://images.squarespace-cdn.com/content/v1/54ed1254e4b0328389bbae34/71c14cd4-a26c-4b34-9cee-2b0113748668/WornPrints.webp Handmade Paper and Prints - Make it stand out This series of prints explore the potential of clothing as a signifier for skin. Shirts, sweatpants, and jackets allow us to re-experience past moments or sensations: the embrace of a parent, the comfort of a friend, the caress of a lover. Throughout this series I examine the wear and tear on my garments, suggesting the absence of the person to whom the clothing was connected. The titles of each print function as a narrative: 1. A loan never meant to be returned 2. A dress I wore for him 3. I wore them out walking the city with you 4. The zipper broke, the lining ripped, and he passed away 5. When you were away, I kept it to inhale your scent 6. My mother couldn’t mend it 7. You never liked it anyway http://www.suecarriedrummond.com/store daily 0.75 2026-06-09