S e p i a        K a t s o o l i s

Mortal Man


Dimensions (height x width): 12 1/2" x 9", 15 1/2” x 12 1/2” (framed).
Paper: Gampi, Somerset, Stonehenge, and Arches in Cream (proofs) and White (edition).
Ink colors: lilac and pink gradient, cobalt blue, black, red, lavender purple, & brown.
Methods used: Hardground & Aquatint. Drypoint and unique “painting” technique on copper matrices.
Printing method(s): Intaglio inking. Paper Lithography on top of Chine Collé.
2022
A trans man lies shirtless only wearing a jacket, he looks down with care as a hand caresses his scarred torso. While enduring the lengthy waitlists, psychological assessments, and insurance denial to pursue surgery, I made this piece about the transformation and mortality of being a trans man. The 3-year mark approaches as I still await a top surgery date. Death is associated with masculinity, in contrast to the life-giving and self-preserving feminine. Was it male violence towards a woman that killed the old me to become the man I am today?

Do not fear death, remember you do not show fear.

I write down my transformation on flesh, it tells the story of life.

Sacrificed the old me, cut it off with an axe.

Do not wait for the shell to crack.

Run your hands over your chest and feel for any holes.

Reach inside yourself, grab that thing growing inside you, and set it free.

Don’t pay attention to time, in a world where time is money, don’t let your attention be bought.

I am listening to the trees and birds.

Decadent Self-Abnegation of Intimacy



Dimensions (height x width): 30" x 24"
Methods used: Dry Point.
Printing method(s): Intaglio.
2022

The Tunnel


Depicting a still from the Film Possession (1981) Directed by Andrzej Zulawski. Anna (Isabelle Adjani) resides in ⅔ of the frame on the right side wearing a blue dress and clutching it as she sits in a pool of milk, blood, and sewage water inside of a pedestrian crossing tunnel. Her face is frozen in a strained scream.
Dimensions (hight x width): 12” x 10”
Paper: Somerset, Stonehenge, and Arches.
Ink colors: black, red, cobalt blue, green, and graphite.
Methods used: Etching. Softground, Lithography Crayon, and Rosin Aquatint.
Printing method(s): Intaglio and Chine Collé.
2022

Death is Beautiful



This print was engraved into a CD, it is a self-portrait capturing the feelings of a song. Inspired by the song “5 Star Crest (4 Vattenrum)” by Bladee, the title of the print is pulled from one of the lyrics. A ghost-like figure with two heads overlaying one another each with a single tear on their cheek. Where the figure's legs should be is a trail of plant cells breaking off into the dark void behind the figure. 
Dimensions (height x width): 7” x 7”
Variations:
“Death is Beautiful”
“Blood is Beautiful” 
Paper: Western White.
Ink colors: black and red.
Methods used: Drypoint.
Printing method(s): Intaglio inking.
2022

Lie Down on Your Grave
Dimensions (height x width): 7” x 12”
Paper: Western White
Ink colors: Black
Methods used: Dry Point and Dremel Engraving.
Printing method(s): Intaglio.
2021

Filmeater


Using illustrations of saw blades and frogs distored on a xerox machine and a scan of a few frames that I cut out of my 16mm film What is Art (2022).
Printing Methods: Screenprinting and Paper Lithography.
Paper Type: Western White cotton paper.
Ink Colors: UV reactive green, black, and lime green.
2022

Cruise Paradise



Cruise Paradise’s first installation was 24 screen prints illuminated by blacklight in the bathrooms of the Seattle queer underground techno rave Somatica. The latest installation was of the four main prints in the series of Cruise Paradise, again illuminated by black light. Hung in the Teal Building, previously ‘R Place,’ Seattle’s historic Gay Club, is a setting fit to mourn the perverse and free queer sexual utopia of cruising. The prints are made of layers of cream pastels and posca paint pens that glow in vibrant outlines of genitalia and flirty exchanges over screen-printed leather daddies and psychedelic patterns reminiscent of the 70s queer scene. Cruising post-AIDs/HIV is mainly virtual, Cruise Paradise attempts to capture the convoluted pursuit of the sexual/cruising utopia of the past for young trans or queer men which can act like a rite of passage. As José Esteban Muñoz puts it in Cruising Utopia (2009), “Ecstasy is queerness’ way,” it flickers to life in the pounding walls of clubs and underground raves. Dimensions (height x width): approx 20” x 32” each (4 total)
Paper Type: Bristol.  
Printing Methods: Screenprinting.
Other: Posca paint pens and cream pastels.
2023


Woven Worries



Printing method: Paper lithography.
Paper: Sommerset.
2021

Blood Moon


Description: Two sheep for sacrifice on the Blood Moon.
Paper: Sommerset.
Printing method(s): Relief and Paper lithography.
2022