This week Miranda speaks with Tom Murphy the founder of Make-Ready, the largest fine-art screenprinting operation in the world.

Tom grew up in Suffolk with pound-shop sketchbooks, bootleg band tees, and a fascination with how things are made. From a garage start nine years ago to collaborating with artists like Alex Katz, Ai Wei Wei, and Anish Kapoor, his path runs through open-access studios, industrial screen tech, and a deep respect for legendary shops like Brand X and Two Palms. It’s a conversation about craft, problem-solving, and that human impulse to leave a mark.

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This week Miranda speaks with Mary Farrell, a printmaker based in Spokane, Washington. They talk about how Mary’s upbringing (with her father’s work in tuberculosis research and her mother’s near-miss with a life in a convent) created a childhood that shaped her perspective as an artist. We explore her long love affair with the human figure, her fascination with the parallels between the body and the natural world, and how she uses printmaking processes like mezzotint to pull light from darkness—literally and metaphorically.

It’s a conversation about labor, love, and the lifelong unfolding of artistic voice, a reminder that, as Mary says, our best work is always still ahead of us.

Mary's Website

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This week Miranda speaks with artist and collaborative printer Nathan Catlin—Master Printer at the LeRoy Neiman Center for Print Studies at Columbia University—whose practice spans relief, screenprint, mosaic, stained glass, and an ever-growing love affair with clay. We get into Nathan’s origin story (the heartbreak + linocut era), why the physicality of carving still feels like home, and how he keeps his own narrative prints clean and focused while helping other artists make wildly ambitious editions. We talk shop about trust in collaboration, the perils of pedantry, and projects that push the edge of “what counts” as print—from boomboxes packed with ephemera to playable records in thrift-store suitcases. We also talk about teaching at Columbia (and previously RISD and City), why prints remain the most democratic corner of the art world, and the quiet power of everyday moments—like a COVID-era bathroom haircut—pressed into permanence.

Nathan's Website

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This week Miranda speaks with Jessica Sabogal an artist whose work lives at the intersection of public space, portraiture, and collective care. Raised in a Colombian immigrant household in the Bay Area, Jess took a winding road from pre-med to political science to the studio and the street, scaling early stencil experiments into landmark murals and all rooted in print.

They talk about her journey to finding her visual voice of bold portraiture rooted in intimacy, interview, and symbolism. As well as her ongoing collaborative practice with partner and printmaker Shauna Strauss and their multi-year project “This Woman’s Work,” honoring the often-invisible labor of women, femmes, and nonbinary folks through layered processes like photopolymer, screenprint, and chine collé. And so much more!

Jess's Website

Jess on Instagram

Taller Sanaa

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This week Miranda speaks with Patrick Miller and Patrick McNeil—better known together as FAILE.

Since meeting on the very first day of high school, the two have been creating art side by side for over twenty-six years. What began with trading sketchbooks in Arizona grew into a wide-ranging practice rooted in printmaking—particularly silkscreen and stenciling—and expanded into painting, sculpture, large-scale public installations, and even immersive nightclubs.

In their conversation, they trace FAILE’s evolution: from cutting stencils in garages and late-night sessions in college print labs, to bringing their layered, frenetic aesthetic from the streets of Brooklyn all the way to Lincoln Center and Times Square. Along the way, they talk about the push and pull between street and studio, the role of music and photocopy culture in their work, and how parenthood and time have reshaped their creative lens.

Whether it’s a 40-foot tower at the New York City Ballet, a nightclub floor covered in hand-pulled prints, or a massive tiled facade soon to be unveiled in Manhattan—FAILE continues to expand what printmaking can be while staying true to the collaborative spirit that started it all.

FAILE's Website

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This week we’re coming to you from Miranda’s living room sofa in Chiang Mai, Thailand. Our guest is the brilliant Onnie O’Leary, a tattooer and visual artist from Sydney, Australia, who has just wrapped up a three-week guest residency at Hello, Print Friend Studios.

Onnie and Miranda dive into what it’s been like living and working together under one roof, how tattooing and printmaking share a surprising number of parallels, and the magic that happens when creative collaboration is allowed to bloom. They talk about ghosts, guts, glowing girls, and the deep human connection found in making art side-by-side.

It’s a warm, funny, and heartfelt conversation about inspiration, pressure, and why sometimes the final artwork is just the byproduct of something even more beautiful.

Onnie's Website

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Onnie's Published Prints at Hello, Print Friend Studios

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This week Miranda speaks with Javier Moreno, a San Juan–based artist, printmaker, and art educator whose work explores the social and political complexities of Puerto Rican identity with bold, graphic clarity.

From his early days sketching graffiti to discovering printmaking in college, Javier shares how his artistic voice developed alongside a deepening awareness of colonial histories, community struggles, and the power of collective action. They talk about skeletons, socialism, and what it means to make beautiful images that still pack a political punch.

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This week Miranda speaks with Rob Swainston and Zorawar Sidhu just after their powerful exhibition Flashpoint closed at Petzel Gallery in New York.

In this conversation, they talk about the complex relationship between image-making and meaning in an age of media saturation—from their early collaborative experiments to the deeply layered woodcuts responding to climate change, civil unrest, and political anxiety. They explore what it means to "think like a printmaker," the emotional weight of working with tragic imagery, and how labor itself can be a form of staying present amidst the chaos.

Their process is as layered as their prints—technically rigorous, conceptually rich, and unapologetically political. If you've ever felt overwhelmed by the flood of images on your phone, this conversation offers a powerful counterpoint: one of deep looking, slow making, and artistic resistance.

Rob Swainston and Zorawar Sidhu at Petzel Gallery

Zorawar Sidhu's Website

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Rob Swainston's Website

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