The aim of
This Artery Area
Is to explore in

This micro-climate
With syllabary and
Poetic license
The fiber-optics of place
And reprographic culture

Shots in the dark …… LZH

***DIAMOND MIND 2.0*** film stills, 2023–24

Prologue

The seeds for Artery Area landed in 2009
In a remote trailer
From Humboldt and Mendocino County CA
To New York City

The seeds originated in South-side Stockton
Germinated in the underground dance lofts of
San Francisco CA
And flowered in the warm heart of
Sierra Nevada CA and Apache Junction AZ

It is 16 years past
2025 and the nutrients of the soil
Are firmly embedded in the wood
The trees stand on a roadside

The road is a freeway
On Airport Way
Full circle in this
Industrial port city

As I sit in my studio
In the Netherlands
I remember the forest through
The trees and I smile

***OBSIDIAN (ITZLI)***, ***EBONY WOOD (HBNY)***, ***YUCCA ANGUSTISSIMA (ICZOTL)***, 2022

2004–25

Chapter 1
South-side Stockton CA
San Francisco CA

Chapter II
Off-the-grid
Humboldt County CA
Mendocino County CA
Sierra Nevada CA
Apache Junction AZ

Chapter III
New York NY
Oakland CA
Berkeley CA

Chapter IIII
Rotterdam NL
Detroit MI

***Run O’ The River / Bitter Medicine (ROTR-BM II)***, 2020–22

***ELECTRIC SUTURES ALPHABETICAL***, 2017–19

Linda Zeb Hang is a queer Hmong-American, Rotterdam-based artist best known for their conceptual artist’s books, hypnagogic book design, sculptural installations, fine art printmaking and experimental video art.

Their conte of scanning voices cross-sections the invisible density, flavor profiles, and omniscient presence of the woven, yet frayed environment. They consider innovative organizing to be objective oxygen, interacting with media to animate the duality and ‘non-duality’ of space.

In their expanded publishing practice, Zeb Hang weaves distinctive flavor profiles, such as letter-locking, abstract drawings, paintings, poetry, textiles, dance and music into mood architecture, scenography, storytelling and sentient patterns. Forming close textures with publics, while designing relationships inherent and persistent in complexities of matter, regardless of their craft.

The fiber-optics of place, an artery area, a micro-climate theory, spacecraft language and calyxes of meditation make visible their pocket cosmology.

Born 1986 in the industrial port city of South-side Stockton CA to proletariat Hmong refugees, they are rooted from the aesthetic and civic praxis of Southeast Asian Animistic, Shaman and Buddhist life-world.

They shape sound and material cultures through technical experimentation, working spontaneously, collecting and generating information to arrive at a knotty mixed-media synthesis.

***WARBLE*** film still research, sonic boom,
2020

***THE ANTIQUE SORCERER*** film stills, 2022–4

Flexibility, instinct and intuition are their chosen guides. Their tools are digital, machine age and ‘primitive.’

***Open Syllables: Paths, Dangers, Strategies***, 2004–2020

Founded in 2013, their mixed-media imprint FIST is held within collective and public spheres, including Queer Work Archive (RI); the Thomas J. Watson Library at The Metropolitan Museum of Art (NYC); Cooper Hewitt, Smithsonian Design Library, Smithsonian Institution (NYC); Letterform Archive (CA); The SFMOMA Library + Archives (CA); and Frans Masereel Centrum, Kasterlee (BE), among others.

They have exhibited in New York City, Los Angeles, Tokyo, and The Netherlands. Printed and bound in the US and abroad such as Kala Art Institute in Berkeley CA, the Robert Blackburn Printmaking Workshop in New York City, and at Frans Masereel Centrum in Kasterlee BE.

Their experimental workshops in craft as a cultural bearer are often presented in community centers, artist residencies, academia, and international cultural institutions. As a life long learner, they have taught, and co-taught with a variety of grassroots organizers, educators, and movement makers.

LZH studied Sculpture, Typographic Design, Book Arts and Horticulture in San Francisco CA from 2004–2007, and currently lives and works in Rotterdam NL.

All images, works and text copyright Linda Zeb Hang.

***PITCH GLUE*** letterpress print, 2024

✍🏾 🧞 *Pitch Glue*
O’—sunsºººbooks˘˘˘polymers˙˙˙
And—bond¬
Terpene—membersˇˇˇærosolˆˆˆ
And—stone—ground—lime
Acetic—boreal˜˜˜dredge—and—behold
Polish—the—plank
O’—nepenthes
Peerless—caves—crafting—nite—alkali
Embers—then˚˚˚with—rare
Wax—filigree

Warbling—radical˘˘˘manipulating
Moon—darts
Shots—in—the—dark
Steam—bending—and—once
On—our—own
Two-feet
Back-tap—the—jukebox
O’—star-tentsˆˆˆ
Cold—code—and—petch—lite
World-wide—singling˙˙˙
Hideous—and—comic
Even—love ¶ revolutionary ¬

***PITCH GLUE*** letterpress print (detail), 2024

***COLD CODE*** chine-collé graphic atlas, 2023

***Run O’ The River / Bitter Medicine (ROTR-BM III)***, published by Sming Sming Books, 2022

Staying true to oneself doesn’t mean staying the same. They know the cost of my journey—the isolation, relentless work, heartbreak, and racial trauma.

As an artist, I often contemplate structures of love that reflect the bonds of our time: collaboration over competition, care over control, and growth over rigidity. It represents for me: A love of when we were equals, not roles. A love that builds, rather than deceives.

To show what’s possible when an artist fully embraces their multifaceted identification. To adapt in different mediums, cultures, and environments revealing that boundaries are self-imposed, and that breaking them is a form of liberation.

These moments will remain because they represent profound shifts—reflecting a rare kind of recognition, one that meets me where I am, and lifts me into where I could go.

***Run O’ The River / Bitter Medicine (ROTR-BM III)***, published by Sming Sming Books, 2022

***Run O’ The River / Bitter Medicine (ROTR-BM III)***, published by Sming Sming Books (detail), 2022

***THE MICROCOSMICROOM***, 2023
Qaldera, I–III

***THE MICROCOSMICROOM***, 2023
Star-Tent I

***THE MICROCOSMICROOM***, 2023
A Cooling Nest for All Kinds
of Speech, Lamentations, and Ecstatic Forms
Verzameling publicatiesculpturen, dyadische meubels, golven van licht, en andere ondersteunende materialen ⁄
ASSORTED PUBLICATIONSCULPTURES, DYADIC FURNITURE, WAVES OF LIGHT, AND OTHER SUPPORTIVE MATERIAL

*A Cooling Nest* . . . is a *microcosmicroom* (or a pocket universe) for classes of study and rites. It contains different languages—publicationsculptures—as a gateway to kinds of knowledge drawn with the body, in collaboration or cultivated solitude, with transparency or in private. This knowledge is broadcast through different matrices in printmaking and waves of sound and light. This pocket of sub-universes is arranged to allow for certain relationships to take shape within it and because. It’s a library of sorts, an artery area, mostly cool memories, with spots of far infrared heat as color. People don’t interpret heat in the same way, but comfort, to me, is a cool temperature.

***THE MICROCOSMICROOM***, 2023
Artery Area, II

***CRITICAL FOOD GEOGRAPHY AND EDUCATION***, 2014–ongoing
CHEM: Origins of Natural and Dry Farming; CHEM II: International Cultured Food Processes; CHEM III: Soil, Nematodes and Scanning Systems. #sproutouts

Excerpt from VCU Methods + Objects speech, Richmond VA, 2017

I’m not here today because I’m an artist who wanted to make books. I’m here because 40 years ago my refugee parents came into this country where they had me, and I fell in love with its people, and the landscape and learned about its true history, and in doing so realized how little I actually knew, in my childhood and early 20s about the world. And so this country for me has been an awakening, and the river passage that my parents took to come here changed my life.

So there was never a plan to “we should make this book.” It’s just that I became an artist, designer, printmaker, and publisher, and one day I thought: what story do I feel is important to tell? And I felt that this war that happened 40 years ago, and what happened to my people was not properly understood. And not just for the world, but for my parents and anyone displaced as a result of war—I want them to be able to reflect on it in a way that they could absorb, leaving gaps for interpretation, using materials, spatial choices, and layering to embed meaning subtly.

There’s so much that’s changed. There’s many people that talk about this, since it’s happened. There are many people denying the history or saying that it wasn’t as bad, or trying to forget the horrors. This country has been part of my personal journey and I think that in many ways I’ve come full circle. My artistry and activism started here, so this place has become a modified terrain, furthering myself in research and application with the refugee policy, which ought to be about facts, and not fear.

***ELECTRIC SUTURES ALPHABETICAL (SCANNING PROCEDURE)***, film still, 2017–19

***THE MICROCOSMICROOM***, 2023
Shoulder-Rotator-Cuff
Diamond cartouche furniture

***UNDERGROUND COMICS (COSMETIC PORTRAITURE I)***, 2022

**HATCH**—***Helping Artists To Create Here***, South-side Stockton CA, 2024

A Free Reed Is A Vibrating Tongue
Which Does Not Need To
Beat Against A Solid Surface, 2022

***EARTH DAY***, Science and Builders’ Club, 1999

***CRADLE REGALIA***, 2016
*Wonderful Law PT2*, Principal Choreographer and Dancer, Directed by Ka Yan, MoMA PS1, Long Island City, New York, September 2018

***Run O’ The River / Bitter Medicine (ROTR-BM I)***, 2020–22

***NEMATODE/BOOMSLANG SCALES I–III***, 2019

***LINDA ZEB HANG***
Artwork: **Toyin Ojih Odutola**. “***You Make Your Own***,” 2013. Pen, ink, and marker on paper. Collection Barbara and Jon Lee. Exhibited in “*Legacy of the Cool: A Tribute to Barkley L. Hendricks*,” 2018, MassArt Bakalar & Paine Galleries.

***LINDA ZEB HANG***, ***BELGIUM***, 2024

***Under Dry Sky on Brittle Earth, Cold Sky on Dark Earth***, 2024

***LINDA ZEB HANG***, ***ROTTERDAM SOUTH NL***, 2025

***FILIGREE***, cast lead metal type handset for ***The Antique Sorcerer***, 2024

***THE MICROCOSMICROOM***, 2023

*A garden is a body that cannot be possessed.*

*Its secret is beautiful because it belongs to no one.*

*Though some have exploited it, its true nature cannot be controlled.*

***LINDA ZEB HANG***, ***HUMBOLDT + MENDOCINO COUNTY CA***, 2010–17

***BAN VINAI REFUGEE CAMP***
The *Microcosmicroom* research
Thailand, 1975–1992

✍🏾 🧞 *Village’s Faith*
We—all—go—there—in—time
Mixing—it—up—with—iconic
Graphic—silhouettes
Drape—and—shadow—work

It’s—there—when—the—written Language—is—absent
The—flow—of—compulsion—to—transduce
A—promise
A—wish
This—serpentinized—curse

Their—recovery—was—worth—the—operation
The—unlikely—yet—possible—return Towards—the—locus—of—cosmetic—portraiture
Into—procedure—of—war

And—the—breaking—of—our—world Make—seen—and—valuable
A—resinous—exudate
Harvested—by—its—Antique—Sorcerer

Meaningful—and—terribly—bare
In—the—vertical—way—we—pray
To—cure—our—goodbyes¬

***JANGLE*** Hang Clan, Hmong indigenous instrument, 2023

***LINDA ZEB HANG***, ***OAKLAND CA***, 2023

***TIME TO GREEZ***, edited by Janice Mirikitani, Glide Publications, San Francisco CA, 1975

People come together behind common needs, issues, and goals. Third World Communications, formed in 1971, is a coalition of Black, Raza, Asian, American Indian, and Native Island people. What we all had in common was our involvement in writing, art, and our communities. The racism, poverty, lack of power and resources in the publishing arena are factors we all experience as Third World people. We had a real need to participate in providing vehicles for the communities to experience their own creative resources. We recognize the necessity for Third World people to have accessible to them materials written by and for them—we must be able to see, hear, feel, smell, taste portraits of ourselves.

All of us have experience working in our respective communities and in writing workshops, attempting to publish soul reachers: AION (Asian-American), Pocho che (Raza), San Francisco Black Writers Workshop, and American Indian artists have attempted to nurture and encourage Third World people to express ourselves through avenues by which we can be heard and reinforced on a broader scale.

***SUMINAGASHI*** print and water research, 2020

***BAN VINAI REFUGEE CAMP***
Hmong indigenous burial,
Thailand, 1975–1992

✍🏾 🧞 *Cold Code*
Indestructible—identity
Shatter—not

ºººShe—lives—her—justice
The—kind—that—no—one—sees
The—causeway—o’
Plainclothes—regret
Caress—and—bind—your—sleep
Creep—up—on—you

And—you’ll—cave
You’ve—entered
Fires—earth—snakes

Even—floods
Unbreakable—adaptation

Equality—in—isolation
Crushing—abstract—and—skein
Difference—o’—negative—plate
Raged—from—pæsina—rays
With—ol’—glamour
Hard—street—edge
Stone—wash
—and
Sun—erased
Stone—wash
—and
Sun—erased ¬

***WARBLE*** film research, opening salvo collider, 2020

***THE MICROCOSMICROOM***, 2023
Lullaby, I

✍🏾 🧞 *Calyxes*
A—gifted—Calyx
Forming—the—whorls—of—inspiration
ºººBy—a—visionary—sacred—pen

[ *Who*—*are*—*the*—*pœts*—? ]

˘˘˙˙˙It—hisses—when—the—written
Language—is—absent
With—elegance—and—gall ¬

***CHIRP BOOMERANG (Cross Fade Rhythm)***, 2019

***BAN VINAI REFUGEE CAMP***
Hmong indigenous burial,
Thailand, 1975–1992

✍🏾 🧞 *Treacle and Exudate*
PaPa
Properties—o’—knife—war—and—device

MaMa
Way—o’—iron—and—needle
Thread-splitting—sacred—sorrows ¬

***THE MICROCOSMICROOM***, 2023
Lullaby, II

✍🏾 🧞 *Drum Drops*
Boreal—forest
Canocopic—oak-ash

Omniscient—letters
Ecstatic—tap—dancer

Woven—by—hand
Stretched—to—receive
Distribution—EQ
O’—strike
Machinist—primitive
—and
Baby-faced ¬

***BAN VINAI REFUGEE CAMP***
Hmong indigenous burial,
Thailand, 1975–1992

***THE MICROCOSMICROOM***, 2023
Knee-Ligament, I
Diamond cartouche furniture

✍🏾 🧞 *Artery Area*
Somnambulist—body—parts—are—strewn—about
In—this—ordinary—yet—rare—feminist—read
The—technologist’s—reliquary
A—lullaby—for—the—unborn
[ An—*empty*—*nest* ]
Dislocation—o’—the—adaptationist—divine
And—into—the—Diamond—Mind—2.0

[ *Cutting*—*thru*—*all*—*illusion* ]
I—can—feel—something—within—this
Cold—code

A—recognito—scene—cool—memories
And—September—blues ¬

***UNDERGROUND COMICS (COSMETIC PORTRAITURE III)***, 2022

***LINDA ZEB HANG***, ***DETROIT MI***, 2024

***UNDERGROUND COMICS (COSMETIC PORTRAITURE II)***, 2022

***LINDA ZEB HANG***, ***LOS ANGELES CA***, photographed by Ed Templeton, 2015

***LINDA ZEB HANG***, ***BERLIN***, 2012

***Gu Du Zheng Wu*** (Japanese: Kotsu Do Sei Go Zu Setsu) 《骨度正誤》 (***Correcting Errors in Standard Bone Measurement***) was written by Cunshang Zongzhan (Japanese: Sōsen Murakami) 村上宗占. It is a tiny book packed with both drawings of all of the channels, with an eloquent discussion on the importance of the measurement of bones, and hence measurement of the *cun* 寸, 2019

***THE MICROCOSMICROOM***, 2023
**Pocket I : Warble**
**2020–2021, HAND-WOVEN FIBER-OPTIC PAPER**

***WARBLE*** is an artifact of intimacy, hinge, and shadow. This process of repetitious folding yields a jointed architecture held together without adhesive, through gravity. The talismans of migrant cultures place importance on woven entry points: they hold significance as a marker, symbol for an exit, an architecture for one’s return to the world. In protection, this undisclosed design forms another “eye,” or a nest for meditation and restoration. As a geoglyph, it can be thought of as a braided crater.

***WARBLE*** woven entry point, Ban Vinai Refugee Camp, Thailand, 1975–1992

***SUMÊG VILLAGE***
Far northern California, 2020
Constructed by local Yuroks, who use it for occasional ceremonies. Filled with redwood plank houses, sweathouse, a dance pit and redwood canoes, which, like other traditional boats from the region, have structures identified with primary organs, such as the heart, the lungs and kidneys.

***Black Apollo of Science: The Life of Ernest Everett Just*** by Kenneth Manning, Dr. Just studied sea urchin egg cells, cytoplasm of cells, and fertilization. He coined the word “***ectoplasm***” to denote the part of the cell's cytoplasm near the cell's surface. Integrating approaches to the study of genetics, and subsequent cell differentiation, 1985

***Time to Greez! Incantations from the Third World***, edited by **Janice Mirikitani** (1941–2021), introduction by **Maya Angelou** (1928–2014), Glide Publications, San Francisco CA, 1975

***Janice Mirikitani***, San Francisco CA, 1975
After participating in the Asian American Political Alliance, she joined Third World Communications. Later co-founding and editing ***AION***—regarded as the first Asian-American literary magazine—which published just two issues in 1970 before folding. She edited two anthologies for **Third World Communications**: *Third World Women* (1972) and *Time to Greez! Incantations from the Third World* (1975).

**We share the same birthplace, Stockton CA, an industrial port city, with its history of labor movement, red-lined architecture, printing, and Hip-Hop philosophy.**

***SALVO*** and ***WARBLE*** film stills, 2020–22

ATELIER LZH
LINDA ZEB HANG
1986 South-side Stockton CA
Lives and works in Rotterdam NL
info@fistbiz.com

Education
2004–2007, San Francisco CA
Sculpture, Typographic Design, Book Arts, Horticulture

Public Collections
Thomas J. Watson Library, The Metropolitan Museum of Art, New York NY
Cooper Hewitt, Smithsonian Design Library, Smithsonian Institution, New York NY
The Herb Lubalin Study Center of Design and Typography, The Cooper Union, New York NY
Center for Book Arts, New York NY
University at Buffalo Libraries Special Collection, The Poetry Collection, Buffalo NY
University of Pennsylvania at Fisher Fine Arts Library, Philadelphia PA
Queer Work Archive, Providence RI
John M. Flaxman Library, School of the Art Institute of Chicago, Chicago IL
The Robert E. and Jean R. Mahn Library, Ohio University, Athens OH
Carl A. Kroch Library, RMC at Cornell University, Ithaca NY
Kala Art Institute, Berkeley CA
San Francisco Public Library, San Francisco CA
The SFMOMA Library + Archives, San Francisco CA
Letterform Archive, San Francisco CA
Frans Masereel Centrum, Kasterlee BE
AGA LAB, Amsterdam NL

Solo and 2-Person Exhibitions
2024
The Antique Sorcerer, Printed Matter’s NY Art Book Fair, 548 W 22nd St, New York, New York, April 2024
2022
Run O’ The River / Bitter Medicine, Printed Matter’s NY Art Book Fair, 548 W 22nd St, New York, New York, October 2022
2020
Salvo, Virtual Brooklyn Art Book Fair, New York City, June 2020
2019
Open Syllables: Paths, Dangers, Strategies 2004–2020, Printed Matter’s NY Art Book Fair, MoMa PS1, Long Island City, New York, September 2019
From Border 2 Grove: A Reprographic Dialect, SF Art Book Fair, Minnesota Street Project, San Francisco, California, July 2019
2018
FIST / LIES, with Ka Yan, Printed Matter’s NY Art Book Fair, MoMA PS1, Long Island City, New York, September 2018
Pattern Erosion, Booklegger, Humboldt County, California, April 2018
2017
Electric Sutures Alphabetical, Branch Museum of Architecture and Design, Richmond, Virginia, December 2017
RELIQ, Printed Matter’s NY Art Book Fair, MoMa PS1, Long Island City, New York, September 2017
SCRIBE, Ace Hotel, New York City, September 2017
Iconicity of Style / Cradle Regalia, Printed Matter’s LA Art Book Fair, Geffen Contemporary at MoCA, Los Angeles, California, February 2017
2016
Oxywave, Scrolls I & II, Printed Matter’s NY Art Book Fair, MoMa PS1, Long Island City, New York, September 2016
Divinity in Motion, Printed Matter’s LA Art Book Fair, Geffen Contemporary at MoCA, Los Angeles, California, February 2016
Dancer on a Blade, ELLA, Los Angeles, California, February 2016
2015
C-I-P-H-R: Cycles, Inspiration, Pastiche, Harlequin, Rarities, Printed Matter’s NY Art Book Fair, MoMa PS1, Long Island City, New York, September 2015
SUMMER PROPHECIES, Printed Matter’s LA Art Book Fair, Geffen Contemporary at MoCA, Los Angeles, California, January 2015
2014
Fertile Crescent, Printed Matter’s NY Art Book Fair, MoMa PS1, Long Island City, New York, September 2014
Bare Toy, Kyoto University of Art and Design & Tohoku University of Art and Design, Tokyo, Japan, September 2014
Scripture, Printed Matter’s LA Art Book Fair, Geffen Contemporary at MoCA, Los Angeles, California, January 2014
2013
Mellow Hopes of Paradise, Printed Matter’s NY Art Book Fair, MoMa PS1, Long Island City, New York, September 2013

Group Exhibitions
2023
Ultradependent Public School: The Microcosmicroom, BAK—Basis Voor Actuele Kunst, Utrecht, The Netherlands, April 1–May 27, 2023
2022
Unfolding Forms: Multiple Approaches to the Book, Center for Book Arts, New York, New York, July 14–September 17, 2022
2021
Experiential Lectures from Exodus: School of Expression, Seed Summer 2021, curated by Taylor Simone and Egbert Vongmalaithong, ICA VCU, Institute for Contemporary Art at Virginia Commonwealth University, Richmond, Virginia, August 2021
2018
HUTONG WHISPERS, curated by Amy Suo Wu, Filodrammatica Gallery, Rijeka, Croatia, November 2018
2016
Printed Matter, curated by Shannon Michael Cane, New Art Dealers Association (NADA) New York, Pier 36 Basketball City, May 2016

Performances and Screenings
2024
Sound Graffiti: The Antique Sorcerer, with Wesley Taylor, Stefan Pederson, and Samuel Michaelsson, The Maintenance Room, Detroit, Michigan, October 27, 2024
2023
Jangle, Film Director, BAK—Basis Voor Actuele Kunst, Utrecht, The Netherlands, April 1–May 27, 2023
2022
Black Poem, GeoGlyph, A Chanting, Poetry Reading at Center for Book Arts, New York, New York, July 14, 2022
2021
A Microclimate: Foodscaping and the Sensorial Rhythm, Film Director, part of Experiential Lectures from Exodus: School of Expression, ICA VCU, Institute for Contemporary Art at Virginia Commonwealth University, Chickahominy and Powhatan terrain in Richmond, Virginia, August 6, 2021
2020
I Know, Digital Video Collage Performer, part of dancer/choreographer Bill T. Jones’ #InPursuitoftheWe, Holland Festival 2020, The Netherlands, June 17, 2020
2018
Wonderful Law PT2, Principal Choreographer and Dancer, Directed by Ka Yan, MoMA PS1, Long Island City, New York, September 2018

Projects
2025
Intellectual Squatters, collaborative multi-part, multi-media exhibition prototype and fabrication, with Wesley Taylor and Sterling Toles, Detroit, Michigan, October 2024–present
2024
Garden of Learning, Sculptor, Gardener and Publisher, Doe-Het-Zelf Werkplaats, Rotterdam, The Netherlands, August 2024–present
body less, collaborative Broadside Reading Abstract Series with Senka Milutinović, Frans Masereel Centrum, Kasterlee, Belgium, June 2024
2023
Radiossage: Reading Rhythms Club, Selector, collaborative musical selection with Senka Milutinović and Julia Wilhelm; artist talk with Czar Kristoff, BAK—Basis Voor Actuele Kunst, Utrecht, The Netherlands, April 1–May 27, 2023
2022
Artifact, Broadside Reading Abstract Series, Center for Book Arts, New York, New York, July 14–September 17, 2022
Run O’ The River / Bitter Medicine, Poet, Painter, Designer, Printmaker, Bookbinder, Center for Book Arts, New York, New York, January 2020–January 2023
2021
FOODSCAPING AND THE SENSORIAL RHYTHM, Sculptor and Gardener, site-specific micro-climate installation for Exodus: School of Expression’s Seed Summer Residency, BIPOC Community Garden, Richmond, Virginia, June–July 2021
The Effervescent Seed, Poet, Painter, Designer and Printmaker, Broadside Reading Abstract Series, Experimental Lectures from Exodus: School of Expression, Institute for Contemporary Art at Virginia Commonwealth University, August 6, 2021
2020
A Hand, A Question, Mixed-media Printmaker, collaboration with poet Celina Su for Broadside Reading Poetry Series, curated by Asiya Wadud, Center for Book Arts, New York, New York, Oct 1, 2020
Human Hive Communal Store, Double-Suminagashi Marbling Printmaker, curated by Terence Koh for Diary, Andrew Edlin Gallery, New York, New York, May 27, 2020
2014 – ongoing
Critical Food Geography and Education, CHEM: Origins of Natural and Dry Farming; CHEM II: International Cultured Food Processes; CHEM III: Soil, Nematodes and Scanning Systems. #sproutouts

Honors and Residencies
2024–2025
Artist-in-Residence, Talking Dolls Printmaking Studio, Detroit, Michigan, October 2024–April 2025
Artist-in-Residence, Frans Masereel Centrum, Kasterlee, Belgium, May–June 2024
Artist-in-Residence, Robert Blackburn Printmaking Workshop, New York, New York, May 2024
Artist-in-Residence, Kala Art Institute, Berkeley, California, April 2024
Artist-in-Residence, HATCH Workshop, Stockton, California, December 2023–March 2024
2023
Artist-in-Residence, AGA Lab, Amsterdam, The Netherlands, April 2023
Artist Grantee, Minnesota Street Project, San Francisco, California, February 2023
Artist Grantee, CCI Arts, Oakland, California, February 2023
Artist Grantee, CERF+, Oakland, California, February 2023
Artist-in-Residence, Artist Alliance Residency, Mills College at Northeastern University, MFA Book Arts Program, directed by Brooke Hardy, Oakland, California, January 2023
2022
The Classroom: Run O’ The River / Bitter Medicine Artists’ Talk co-presented by FIST and Sming Sming Books, Dia Art Foundation, New York City, October 16, 2022
Artist-in-Residence, Kala Art Institute, Berkeley, California, May 2022–June 2023
2021
Artist-in-Residence and Gardener, Exodus: School of Expression’s Seed Summer Residency, Chickahominy and Powantan Terrain, directed by Taylor Simone, Richmond, Virginia, June–July 2021
2020
Mixed-Media Scholar, Center for Book Arts, New York City, September 2019–September 2020
Printmaker’s Talk, Broadside Reading Poetry Series, Center for Book Arts, New York City, October 1, 2020
2019
Speaker/Storyteller of the Future, Greez: I Like, I Wish, I Wonder: Possibilities and Fantasies of POC/QTPOC Designers, speaking panel curated and moderated by designer/writer Rin Kim Ni, Geffen Contemporary at MOCA Museum, Los Angeles, California, April 13, 2019
2017
Lecturer, Open Syllables: Paths, Dangers, Strategies, OBJECTS + METHODS Lecture Series, curated by Professor Nicole Killian, Virginia Commonwealth University (VCU), Richmond, Virginia, November 30, 2017
Artist-in-Residence, Ace Hotel, New York City, September 2017
2015
Bodywork Residency, Heartwood Institute, Humboldt County, California, January 2015–December 2015
2012–2014
Design and Permaculture Residency, HVR, Somerset, California, September 2012–February 2014

Guest Critic
2023
MFA Book Arts program, Mills College at Northeastern University, Artist Alliance Residency, directed by Brooke Hardy, Oakland, California January 2023
2017
MFA Graphic Design Studios program, Professor Nicole Killian, VCUarts Department of Graphic Design, Virginia Commonwealth University (VCU), Richmond, Virginia, December 2017
2016
BFA Typography and Contemporary Artists’ Books program, Professor Dante Hong Carlos & Professor River Jukes-Hudson, Department of Graphic Design, Art Center College of Design (ACCD), Pasadena, Los Angeles, California, February 2016

Workshops / Teaching
2025
Hot—Glue—Stick—Maps, collaborative crafting workday with Tomi Hilsee; GARAGE, Rotterdam, the Netherlands
2024
Suminagashi: To Print and Publish Soul Reachers, large-scale collaborative printmaking, making public the collective vat, co-taught with Tiffany Pech; HATCH—Helping Artists To Create Here, Stockton, California, Mar 24-25, 2024
2023
The Diamond Mind II, distribution EQ, psycho-aesthetic signature cultivated by impermanent transparencies, the moving form in film, and the resulting printed matter of collage; BAK—Basis Voor Actuele Kunst, Utrecht, Netherlands, May 10–12, 2023
XPUB DISTRO CLINIC, experimental publishing; Piet Zwart Institute, Rotterdam, Netherlands, April 25, 2023
The Lantern Mark, structural story-cloths, braiding foresight with image and text, pattern exploration, adventures in symmetrical reversal textures, and divining the distance between the real and ideal; Kala Art Institute, Berkeley, California, January 28, 2023
2020
Reaping a Reprographic Fictive Kinship, collage expedition, scanning histologies, carbon sequestering; Center for Book Arts, New York City, February 22, 2020
2017
Open Syllables: Paths, Dangers, Strategies, initiation of carved negative space weavings; VCUarts Department of Graphic Design, Virginia Commonwealth University (VCU), Richmond, Virginia, December 1, 2017

Selected Bibliography
LZH—FMC. “Frans Masereel Centrum Residents,” printed matter at-large, May 14–June 21, 2024
https://fransmasereelcentrum.be/en/residents
Goodner, Annie. “Vine and Hollow: Ultradependent Public School and the Necessary Paradoxes of the Liberated Institution,” e-flux Education, May 26, 2023
https://www.e-flux.com/education/features/542305/vine-and-hollow-ultradependent-public-school-and-the-necessary-paradoxes-of-the-liberated-institution
LZH–BAK. “Ultradependent Public School,” BAK—Basis Voor Actuele Kunst, April 1, 2023
https://www.bakonline.org/program-item/ultradependent-public-school
Sming, Vivian. “The NYABF 2022 Classroom—Run O’ The River / Bitter Medicine,” Dia Art Foundation, October 16, 2022
https://www.youtube.com/watch?v=IMVbjmMaFF4&t=12356s
https://www.smingsming.com/collections/frontpage/products/linda-zeb-hang-keith-graham-run-o-the-river-bitter-medicine
Simone, Taylor. “EXPERIENTIAL LECTURES FROM EXODUS: SCHOOL OF EXPRESSION,” The Institute for Contemporary Art at Virginia Commonwealth University — ICA VCU, August 6, 2021
https://icavcu.org/events/experiential-lectures-from-exodus-school-of-expression
PM Tables. “Virtual Studio Visits: Books by Brian Blomerth, Linda Zeb Hang, and Jordan River,” Printed Matter, August 13, 2020
https://www.printedmatter.org/catalog/tables/16822
Cassell, Dessane Lopez. “The Virtual Brooklyn Art Book Fair Showcases New Artists’ Books, Zines, and More,” Hyperallergic, June 23, 2020
https://hyperallergic.com/572802/brooklyn-art-book-fair-virtual-edition/
King, Kelsey. “The Center for Book Arts, Winter 2020,” Artists-in-Residence; Reaping a Reprographic Fictive Kinship, February 22, 2019, pp. 2, 14, 18
Kim, Rin. “Greez,” Printed Matter, Inc., April 13, 2019
https://laabf2019.printedmatterartbookfairs.org/Saturday-13
Gopinath, Gabrielle. “Book Arts at Booklegger,” The North Coast Journal, April 5, 2018
https://www.northcoastjournal.com/humboldt/threaded-discussion/Content?oid=8601881
Oakley, Be. “The G.A.P. Selector,” The Genderfail Archive Project, November 30, 2017
http://genderfailarchiveproject.com/fist.html
Killian, Nicole. “Objects + Methods,” November 30, 2017
https://arts.vcu.edu/graphicdesign/
Lefebvre, Antoine. “California,” ARTZINES #8, September 22, 2017, pp. 12-15; artists’ books
The Ace Hotel: “Ace Air Resident,” September 10, 2017
https://www.acehotel.com/calendar/newyork/ace-air
Hyperallergic. “New York Art Book Fair,” September 18, 2015
Hartman, Eviana. “Seen on the Street: A Grunge Aesthetic at the L.A. Art Book Fair,” The New York Times Style Magazine, February 2, 2015
https://tmagazine.blogs.nytimes.com/2015/02/02/la-art-book-fair-street-style

***LINDA ZEB HANG***, ***HUMBOLDT COUNTY CA***, 2020

✍🏾 🧞*The Free Reed*
Tongue—o’—many—strings
—and
Erotic—plots
Unusual—elan
—and
Flair
[ *Draped*—*ivories*—*patterned*—*with*—*special*—*hardware* ]
Androgynous—grey—green
Its—presence—o’—encoded—script
Implanted—on—domestic—sheets—o’—hemp

Varying—degrees—o’—stitch—a
Rhythmic—site—to—abstract ¬

***Suminagashi: To Print and Publish Soul Reachers***, large-scale collaborative printmaking, making public the collective vat, co-taught with Tiffany Pech; **HATCH**—***Helping Artists To Create Here***, South-side Stockton CA, 2024

Back after 20 years. Meaningful and symbolic.

I speak dialects now: ol’ country, bodega, and rabelaisian.

I grew up a couple of blocks away from this artery area. Right by the freeway, on Airport Way, in this industrial port city. Stockton is where one rests their collective tools for this long, overseas journey ahead.

They are ingredients for liberation. Helping artists to create here. Skills to build for movement makers. To print and publish soul-reachers. Access to tools, creating networks of collaboration, with valuable data.

The Suminagashi Workshops held here in this artery area extended on the geology of Stockton’s wind aeolian processes. Co-instructed and built in March of 2024 with Tiffany Pech, HATCH Residency Coordinator, we combined our organizing efforts, and visual arts background to run two workshops for a large collaborative printing session in my hometown of South-side Stockton CA.

Rocks placed in the water vat, originally built for housing tiles, lined with plastic—created currents, toned with a slab of copper. Stone wash and sun erased minerals were used as natural weights for drying the hand-pulled washi prints.

Surface slip-streams seemed to bend the Black African soap and Southeast Asian lime water as the aqueous effect gave way to a peculiar efflorescence. Each ‘streaking’ of ink on the surface foregrounds the vellum-like water bath. Hand-crafted brushes from our hair shaped symbolic ritual, attaching itself to a broken branch from a recently chopped Oak tree.

Bound by copper wire, gradients formed readily, and deadly in collective formation. Each student responsible for the emotional content their marbling would have on this floor culture workshop.

The ensemble of students served their ways of bending water, ink, and wind as artery lines, key drops, and compass points—casting carbon and sublimations onto water. Sinuously delicate, with an all-over glow. Marking the critical, cellular citations of stone, metal, and water.

I liken Suminagashi to pin-pricking the baptismal surf of cosmic chaos. I joke that I’m a double fantasy aquarium landscaper. The recognition of media fatigue, and technology through surface treatment all retreat as one’s eyes readjust to what is exactly in front of them. For me, it’s the tensioning of vision within the field of chiasma. One becomes the slip-stream in this impermanent transparency.

Students got to see how building layers of color, ink, and gesture encoded quick feedback. They arranged for certain relationships to take place, with interpenetration of the paper by listening, and reading with their hands.

The act of raking downwards, the last step, was key to what could be. Using a tautly pulled piece of paper, we downsampled the ink design to a sharpened reductive graphic, as the raking reduced the coverage, and the multi-colored inks converged in new and unexpected ways on the surface of the water.

Small square pieces of multicolored origami paper were used for its last baptismal surf. Each hand-pulled print was unique, collecting as much of the frayed ink.

Prints were then dried on stackable, formerly baker’s trays that stood together with wheels, allowing for proper airflow, and mobility from outside terrain to inside storage. The resulting, finished stack recalls digital pixels, and like gleeful chefs piping hot biscuits from the oven, we broke bread with some excellent art.

Passing the test.

Special shout-out to Jacqueline Bahnsen, ceramics specialist, for helping to organize the administration of the workshop, as well as assistance with documentation on printing day. Elazar Abraham, executive director of HATCH Workshop, for the opportunity to build here, alongside his last minute strategy for drying prints. It came together seamlessly, as it all were, in the nick of time.

Tiffany Pech, for coordinating this residency, large scale collaborative printmaking for our build-out, and archiving of this wonderful program. We did that~!

I’m tuned in. Looking forward to coming back.

Linda Zeb Hang
South-side Stockton CA
2023-24 HATCH Workshop Artist-in-Residence