Amy Sands (MFA, Pratt Institute) is a Minneapolis based artist focusing on one-of-a-kind works on paper that integrate traditional and digital methods of printmaking. She has exhibited in solo and group shows across the world including: Prints Tokyo 2012, Tokyo Metropolitan Art Museum; the International Printmaking Biennial of Douro, Portugal; and the 2016 Delta National Small Prints exhibition at the Bradbury Museum in Jonesboro, Arkansas. Her work has been internationally recognized with numerous awards including First Prize ~ Mini Print III International Cantabria/Impact 10 in Santander, Spain; Juror’s Choice Award ~ Awagami International Miniature Print Exhibition 2017, Tokushima, Japan; First Place ~ Home exhibition at the Rourke Art Museum, Moorhead, MN.
Sands’ work can be seen in upcoming solo exhibitions at the American Swedish Institute (Minneapolis, MN) in 2021 and the Osterøy Museum (Lonevåg, Norway) in 2022. Her work belongs in the permanent collections of the Faro Cabo Mayor Art Center (Santander, Spain); Biblioteca (Douro, Portugal); New York Public Library (NY, NY); Montefiore Hospital (NY, NY); Pratt Institute (NY, NY); Metropolitan State University (St Paul, MN), Georgetown College (Georgetown, KY); Buena Vista University (Storm Lake, IA), Central Lakes College (Brainerd, MN) as well as many private parties. She is a recipient of the 2020 MN State Arts Board Grant, 2019 Springboard for the Arts Art in the Public Realm grant and a 2018 Springboard for the Arts Bottineau Boulevard grant. Sands maintains a studio in the Twin Cities area where she is Assistant Professor of Studio Arts at Metropolitan State University, St Paul, MN. She is represented at Muriel Guépin Gallery in New York City and Davidson Galleries, Seattle.
Photo Credit: Gretchen Mathiason/@bygretchen
I have been exploring the concept of women’s work in my art. Imagery sourced from lace and craft doilies emerge from my paper abstractions, giving homage to the history of women’s work and raising the question of what is valued in our culture. Patriarchal systems have inhibited female artists from being recognized for their work throughout history. “Craft” is often illegitimately considered low-brow when compared to “fine art,” and I aim to conflate these notions by bringing the patterns of craft into prints.
In addition to merging the ideas of “craft” and “fine art,” my work pushes the boundaries of what has been historically defined as a print. Post-digital printmaking processes such as laser cutters and CNC routers have entered my practice and have allowed me to expand on ways of thinking about the print. The balance of the delicate and the mechanical adds an additional element to the concept of gender roles referenced in the handwork. Exploring extreme scale (both life size and miniature) has become an important way for me to broaden the range of possibilities with printmaking.
-Amy Sands 2020