On the Morning after she and Griff McGuire met at a table overlooking the Pacific Ocean, at home, while she ate a continental breakfast of croissants, unsalted butter and strawberry jam -- accompanied by Peet's French roast coffee and freshly squeezed orange juice -- Caydance contemplated the rest of the week.

She needed to review next week's class. Beginning with examples of "zine culture", she planned to talk about form, content, process, and aesthetic conflict. The students in her class ranged from performance art students to information artists, to writers, to printmakers, painters and sculptors. In the field itself, there were divisions between the makers of experimental books and the makers of aesthetically-driven objects, with some artists bridging both approaches. "Zine culture" was the maverick.

arrow Her approach was to encourage each student to think about how emerging vision for their work as a whole would infuse the work they were about to create or conversely how the making of artists books might inform or even in some cases redirect their vision. How her students responded in morning discussion was core to the afternoon's studio-based practice.