Open Call

Works Created During the Lockdown Period

Juried Show with Awards

Sat. November 7 – Sun. Dec. 13, 2020

Deadline: Sat. Sept. 19, 2020

Submission Instructions- Open Call, Oct. 17 – Dec. 13. 2020.docx
Submission Instructions- Open Call, Oct. 17 – Dec. 13. 2020.pdf

Entry Form- Open Call, Works Created During the Lockdown Period. Oct-Dec, 2020.docx
Entry Form- Open Call, Works Created During the Lockdown Period. Oct-Dec, 2020.pdf

We have experienced recently a darkest period in our life, first with the deadly coronavirus pandemic followed by another horrifying social pandemic both of which have spread all over the USA and worldwide like a tsunami, and nothing seemed to help lift our spirits in hope for humanity. Yuko Nii

Ever since mid-March, we, the citizens have been ordered by Government Officials to stay home, and when going out, wear a mask, plus stay 6’ apart from others, and when returning home wash hands with soap, etc.

This has been an extraordinary period that we have all had to go through in the past nearly 5 months and even today we must follow with the official guidelines carefully and cautiously in order to be safe

Many artists were delighted to have the unexpected long stay-in period so that they could concentrate on their works in isolation, which they couldn’t have at any other times…but some have lost their directions or future hope totally that it was very difficult for them to grasp the reality. Some who had regular jobs with steady working hours, didn’t know how to spend the long hours at home. Some got depressed just like many retired people who often experience emptiness after leaving their jobs. Some artists felt that this was a turning point for them to rethink their art-making process and mediums, and they have started to pursue new directions in different themes and mediums. Reflecting the current political, social, economical and environmental devastations we have witnessed, it is a historically significant once in our lifetime life and death experiences. 

This show is about the works created by artists only during the pandemic period so that we can find where their minds and hearts were and how they expressed it in their works. This call for entries is open to all artists working in any medium, who can hand deliver their artworks to the WAH Center.

Instructions on Résumé and Statement

A) Resume: The difference between Bio and Resume:

Bio is a biography, which states one’s story with wordy explanation in sentences.

Resume is to list one’s historical background, and for this catalogue, we need your resume listed in a chronological order from birth to current.  

* in chronological order means to start listing with the oldest item first and the most recent item last. If your resume is too long to list, you have to eliminate some of the unimportant items from the long list.

Please don’t be confused with the resume you usually submit to galleries or leave it in your portfolio, which starts first with the most recent item and the oldest item at the end of the list. The reason why the order is reversed is that people want to know the most current activity the artist had first, because they are not interested in the artist’s past activities. On the other contrary, we, the WAH Center is interested in the artist’s historical background: where he/she is from, which school (college or school) he/she attended, what he/she studied at school, when his/her artist’s career started to achieve his/her current status.

If your resume is too long to list, you have to eliminate some of the unimportant items.

Please list each separate category in the following order:    

1) Birth Place (option)

2) Education (list schools attended)

3) Solo Shows

4) Group Shows

5) Achievements & Awards

6) Publications

7) Permanent Collections, etc 1

B) Statement: we need your artist’s statement, not necessary about specific works in the show.

A) Sample, Resume & Statement, formatted by Yuko. 8.15.18



1974 BFA in Film, York University, Toronto, ON

1983 MFA Visual Studies Workshop, Rochester, NY (Conferred by SUNY, Buffalo, NY)

Selected One Person Exhibitions

2009 BravinLee programs, New York, NY • “Bookworks,” Limn Gallery, San Francisco, CA

2017- “BOOKED,” Bard College, Annandale-On-Hudson, NY • “Sketch/Books,” Bookcase curated by John Lee,

Selected Group Exhibitions

2017 Seager Gray Gallery, Mill Valley, CA • “Hecho en Transito/Made in Transit: A US – Cuban Art Exchange and Intercultural Dialogue,” curated by Katarina Wong, The Macy Gallery, Teachers College, Columbia University, New York, NY • “Book Art: A Novel Idea,” curated by Alexandra Willis, Morris Museum, Morristown, NJ • “The Internal Machine,” curated by John Roach, The Center For Book Arts,

New York, NY • “By the Book: A Tribute to Dolph Smith,” curated by Marina Pacini, Memphis Brooks Museum of Arts, Memphis, Tennessee

2018- “The Art of the Book,” Seager Gray Gallery, Mill Valley, CA • “The Art of the Book,”

Curatorial Experience

1993 New Haven, CT • “The Book Under Pressure,” curator and consultant for Allan Chasanoff. NY, NY

2015- “Odd Volumes: The Allan Chasanoff Bookwork Collection,”advisor to the Yale University Art Gallery,

Selected Bibliography & Publications

2014 Bloomsbury Publishing, New York, NY • Primer on Artists’ Books, curated by Janet Stanley, National Museum of African Art & Smithsonian Libraries, Meridian Printing, East Greenwich, Rhode Island •

The Book, by Amaranth Borsuk, The MIT Press Essential Knowledge series, The MIT Press, US, Cambridge, MA • Doug Beube: An Artist Profile, by Katy Masuga, Canadian Bookbinders and Book Artists Guild Magazine, Toronto, Canada • The Art of Doug Beube, Fine Books & Collections,

Chapel Hill, NC (Winter issue)

2018- Book Presence in a Digital Age, edited by Kiene Brillenburg Wurth, Kari Driscoll, and Jessica Pressman,


2016 ‘The Pollock-Krasner Foundation Research Grant,’ New York, NY


Art Gallery of Ontario, Toronto, ON • Black Eagle Apothecary Museum-Istvan Kiraly Museum, Budapest, Hungary • Brooklyn Museum of Art, Brooklyn, NY • Bowdoin College, Brunswick, ME • Bruce Peel, Special Collections, Univ. of Alberta, Edmonton, Alberta • The Book Under Pressure: The Allan Chasanoff Bookwork Collection • WAH Center, Brooklyn, NY

Artist Statement

The codex, which, in Latin, literally means wooden block, is undeviating in its essential, expected and historical form. Undeniably it is limited in its capacity to store and generate information in the digital age compared to a computer. I exploit the inflexibility of the codex both theoretically and physically by ‘excavating’ the book as if the physical elements and text block becomes malleable and functions as an archaeological site or cadaver to be studied and sliced. By cutting, crushing, drawing, drilling, gouging and stitching, to mention a few actions I perpetrate upon books, I physically manipulate the outdated modality and push its physical properties until it almost falls apart.

Peeling away the vulnerable layers of a book, its physical characteristics of paper, spine, board and thread become exposed. In referencing text, sometimes their words are readable and their content is recognizable, but in every case discarded books when transformed are repurposed into sculpture. Through the use of an assortment of power tools, the pages and text of an altered book are reconfigured into shapes that fluctuate between abstract configurations and narrative forms. By transforming the book’s content from what the original author may have intended, in viewing an altered book, we are forced to read non-linearly and shift centuries of veneration for an ubiquitous object into a challenging three dimensional form, such as a ceremonial mask, piece of architecture or antiquated object.

B) Sample, Resume & Statement


Graduating in 2009, I continued to develop my practice at the same institute on the fellowship program for a further year. Now I work independently between my home studio and my space at Alternator studios, The Old Bakery, Birkenhead.

I exhibit regionally, nationally and internationally. Within my art practice I work on community based projects including my latest, The Fallen Oak Leaf Project which I’ll be curating in the autumn of this year.


2006 Diploma in Foundation Studies Art & Design, grade: distinction. Wirral Metropolitan College

2009 BA HONS: Fine Art, grade: first class. Wirral Metropolitan College accredited by John Moores University, Liverpool


2010 “Life in Paper,”Mersey Bio, Liverpool, Alison Bailey-Smith

2011 “Inner Beauty,”Arena Gallery, Liverpool

2018 “Blood Cells,”Bio-Rad, ISBT, Toronto, Canada • “In the Window,” Bluecoat Display Centre, Liverpool


2009 “Art Degree Show,”Williamson Art Gallery, Wirral       

2010 “Special Choice Book Arts Part 1 & 2 Exhibition,”& “Tri-Fold: New Perspectives on Book Art Exhibition,” Yuko Nii, Williamsburg Art & Historical Center, NY • “Fellowship Show,” Williamson Art Gallery, Wirral • “Climate Change,”Kim Dewsbury, Rhyl Arts Centre, Rhyl, Wales • “Set of Odd Volumes,” Amy McKenny, CoExist Gallery, Southend On Sea

2012 “Art Takes Times Square billboard event,” Broadway 43rd – 44th Street, NYC • “For the Love of Books,” Vicky Griffiths, Huyton Gallery, Liverpool • “Fixation,”Joe McNulty, Wolstenholme, Liverpool

2014 “Exile,” Lauren Davies, ONCA Gallery, Brighton • “The Send Off,”Franny Swann, The Orangery, Kent

2015 “Coda Paper Art 2015,” Desiree Slauerhoff, Coda, Apeldoorn, Netherlands

2016 “Paper installations,” Beeldentuin Achter de Westduinen, Ouddorp, Netherlands

2017 “Book Art: A Novel Idea,” Alexandra Willis, Morris Museum, Morristown, NJ • “Di-versi conservati, Simon Ryder, Museo Archeologico Nazionale, Valle del Sarno, Italy

2018 “Our Anthropocene: Eco Crises exhibition,” Gary Van Dyke, The Center for Book Arts, NY              


2008 “Metrospective,” Liverpool Academy of Arts, Liverpool

2009 “Degree Show,” Williamson Art Gallery, Wirral

2010 “Fellowship Show,” Williamson Art Gallery, Wirral

2011 “Blood Streams,” Blackburne House, Liverpool • “Inner Beauty,” Arena Gallery, Liverpool

2012 “Invasive Ivy,” Royal Liverpool University Hospital

2016 “Paper Installations,” Beeldentuin Achter de Westduinen, Ouddorp, Netherlands

2018 “Blood Cells,” Bio-Rad, ISBT International Congress, Toronto, Canada • “In the Window,” Bluecoat Display Centre, Liverpool


2009 Artists Newsletter • Printmaking Today 18, Summer 2009

2010 Artist Newsletter

2012 Art in Liverpool, Sinead Nunes• Fast, Suzzane Labarre• Inhabitat, Helen Morgan

2013 The Quarterly 87, July 2013, Davin Chamberlain • Floral & Tendances 21, Jan-Feb 2013, Emilia Oliverio

2015 Kunstbeeld No.6 2015, Richtje Reinsma

2017 News 12 New Jersey, John Bathke • Art in Liverpool, Patrick Kirk-Smith


2009-2010 Fellowship program, Wirral Metropolitan College

2011 Artist Residency, Arena Studios, Liverpool

2012 Artist Residency, Royal Liverpool University Hospital, Bluecoat Display Centre • Artist Residency, ‘Comma’ community arts programme

2012-2016 Artist Residency, Wigan Libraries

2017-2018 Artist Residency, Prenton High School


The Yuko Nii Foundation’s Permanent Collection (WAH Center) • New Ferry Butterfly Park, Wirral • Kwantlen Polytechnic University, BC, Canada • LJMU, Liverpool • Edith Cowan University, Perth, Australia • Sheffield Hallam University • Brigham Young University, Utah • Wirral Metropolitan College, Wirral • University of Central Lancashire, Preston • Royal Liverpool University Hospital • Tate Britain, London • Beeldentuin Achter de Westduinen, Dijkstelweg, Netherlands


My artwork is based on repetition and is inspired by pattern and shape found in nature. I feel compelled to work in multiples, which I use to mimic life, growth and regeneration.

I focus most of my attention on environmental issues and use my art practice as a platform to reflect my concerns of our consumption and environmental responsibility. I often recycle discarded materials to produce a response.

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