Laura DeGrace
Artist statement
I was first drawn to book arts while working at the Oregon College of Art and Craft. My career had shifted from being a commercial artist to working as an accountant—a more stable but significantly less creative path. Joining OCAC allowed me to stay close to the creative world, even in a supporting role. I hadn’t previously considered book arts, but wandering through the campus gallery during lunch breaks piqued my curiosity. I eventually took a class—and was instantly entranced. That experience marked the rebirth of my artistic practice and the beginning of a lasting journey toward creative confidence and self-expression.
My work is often rooted in personal and emotional themes. I draw from the stories in my mind—ideas I ruminate on, dreams, or internal narratives—and give them physical form. This process allows me to explore new perspectives, make sense of my inner world, and witness my own experience more fully. While the work is deeply personal, I hope it resonates with others who may be navigating similar questions or emotions.
I’m especially drawn to experimental forms of photography, including eco-printing and cyanotype. I also enjoy exploring different binding techniques and have developed distinct motifs, such as incorporating text typed on an old IBM typewriter. My practice occasionally includes collaborations with poets, as well as my own erasure poetry and other unconventional poetic forms.
Book arts, for me, are deeply rooted in community. In Portland, I was privileged to be part of a private book arts group, and now in Maine, I’m grateful to be involved with the Midcoast Maine Book Arts Group. The influence of these creative communities has been profound, and I look forward to finding ways to pay that forward.
Biography
Laura DeGrace is an accountant by day—and a book artist, photographer, and collage artist by passion. Two years ago, she returned to New England after a 17-year adventure in Portland, Oregon. Laura holds a B.A. in Studio Art with a concentration in photography from Rhode Island College and pursued graduate studies in the MFA Computer Art program at the School of Visual Arts in New York City.
For over a decade, Laura has deepened her book arts practice through classes at the Oregon College of Art and Craft, the Pacific Northwest College of Art, and online programs nationwide. Her studies have spanned a wide range of techniques, including cyanotype, eco printing, photography, and collage—all in service of her evolving book arts practice.
Laura’s work is frequently personal and sometimes laced with humor—a kaleidoscope of observation, memory, and experience, shaped into tactile, expressive forms.
Website: www.lauradegrace.com
"Lacunae"-The word ‘lacunae’ is defined as a gap, an empty space. What might fill the empty spaces, the gap in time when mental illness defeats creativity and we work only in survival mode? This piece explores those issues. Eco printing on mixed media paper, Amate bark paper, text done on IBM Selectric Typewriter and writing by the artist.
"Gifts"-From 1994 to 2018, my father kept a list of the gifts he gave to my mother. This list was detailed and meticulous. To me, this list became something more than just a record—it was a quiet but profound testament to love. Vintage computer dot matrix paper, Nepalese Lokta, Mohawk Superfine.
"Sticks and Stones"-We as humans and especially women absorb labels and stories about ourselves that start as myths become our reality in our heads. But how true are these labels? Fat, ugly, plan, sad, angry. Many of these things are what we are not supposed to be and carry great weight, untruths that build up into deep secrets in our hearts and souls. Canson paper, Tyvek, mulberry white paper and Lokta metallic paper. Tortoise shell Japanese binding and Exquisite Corpse binding mixed with Tyvek flexible spine.
"Maine Summer Evening"-Maine summer nights are quiet. The forest breathes softly, wrapped in stillness, as the night hums with peaceful whispers. Above, the stars shine bright, untouched by the world’s noise. Canson Bristol, Strathmore Watercolor, Textured Mulberry white, Cyanotype process. Binding is Hedi Kyle's panorama.
This box book was done at a workshop at the Sitka Center on the coast of Oregon. The black accents are rubbings from Portland streets. The middle container holds lavender from my garden and shells and driftwood from near Sitka.
"The Marilyn Box" — In a collaborative session at an adhoc group of artists in Portland, OR studio, our leader, Marilyn Zorando of Zorando Design cut shipping containers for us to use. I created eco prints with natural pigments and assembled my box from the printed panels.