Recognized for her work in printmaking, book arts, and socially engaged community arts projects, Kim Morski was born and raised in Columbia, Missouri and is now based in Denver. Printmaking provides a conceptual and material framework for Morski’s wider artistic practice; the medium has a traditional link to political commentary and protest. The Blizzard series consists of 22 collagraph monoprints in which visual information is obscured by means of accumulation, redaction, and cover up. For the body of work, Morski made five plates and printed them in various iterations of color and order, along with hand-drawn marks and collage. The title of the series is a reference to “blizzarding,” a term for a tactic used by government officials to frustrate public inquiry, wherein a “blizzard” of documents is sent in response to Freedom of Information Act requests, making the requested information difficult to discern.



Drawing from real-life historical and political narratives, printmaker Kim Morski uses woodcut, screen print, etching, and letterpress techniques to make prints, artist books, and objects. In her work, Morski hones in on details, directing attention to the peculiar significance of an unsettling image or phrase. Much of her recent work references secret tests conducted in St. Louis,  shortly after WWII, in which the U.S. Army worked with scientists to spray residential areas with zinc cadmium sulfide. Materially, her works are joined to a rich, democratic tradition of political commentary and protest through printmaking.