FALL 2017


No. 30 from Anscoflex series – Paxton Maroney


Jonathan Diaz, Bracero
Andy Eaton, Sound and Water Sutra
Natalie Giarratano, Second-Hand Blues; News Story Notes on the Iraqi Undertaker

Robert Gibb, Visiting Fort Juniper
Ambalila Hemsell, Rome; Son
Jonathan Johnson, Alone and with Others
Sarah Jones, Letter to Alex After His Unexpected Death
Laura Kasischke, A Girl’s Guide to Color; The Pelican
Deborah Keenan, Two Stones; Garage; The Thief
Erika Luckert, The Forgetting Curve
Cheswayo Mphanza, Reprise

John A. Nieves, Scission
Pimone Triplett, Spieden Island, San Juan’s Boat Tour, Washington; On the Nutshells of Unexplained Death and Other Miniatures


Bruce Ducker, Koi
Susan Kleinman, Help Us See Your Face
Ari Moskowitz, My Father Left Me a Dying Town
Alain Douglas Park, I Don’t Want Anything to Happen; I Want Something to Happen
Adam Roux, On the Beach Near the Hospital del Mar
Randy Shelley, Migrations


Sarah Curtis Graziano, The Shadow of a Song
B.J. Hollars, Fragments for Medgar
Ira Sukrungruang, Loose Interpretations of the Dreams You’ve Had During Naps in Thailand While Your Mom Listens to Buddhist Sermons About Suffering
Kathryn Waring, Appendix: How to Begin

Paxton Maroney is a Dallas-based conceptual artist predominantly using the medium of photography. Her surreal photography invites the outside world to step inside snapshots of her dreams. For several years, she has woken up from vivid dreams, often in the middle of the night, and drawn the images composed on the backs of her eyelids. At times, she even engages in lucid dreaming throughout the day as she’s “trained her brain” to create new chimera for her portraiture. Then, when she has scouted out the perfect location, she begins painstakingly reconstructing the scenes of her subliminal imagination. You can see her artwork in Bishop Arts District at Jen Mauldin Gallery. Featured works are listed on her website.

The series titled Anscoflex was created in Archer City, TX and was shot digitally through the viewfinder of her Anscoflex camera. One may question why she didn’t just use film? Whether it is a single image, her digitally composited work or her mixed media, Paxton is always intentional with her process.  As you take a peek through the glass, a sense of presence is allowed.