Never fear if you missed out on the original batch or the Kickstarter campaign for the mushroom axolotls! They're back and they've brought friends!
Current Status: Taking donations to help with computer repairs
SplitGillStudio was founded in 2021 as an integration of the multidisciplinary works of artist and designer, Smote, drawing on their background in fine arts and design to provide a diverse mix of artistry to enjoy. The studio name is a tribute to Smote's first axolotl, Tamago, who has five branched gills on his left side.SplitGillStudio sells both online and in-person at pop-up markets and art fairs (mainly in the RTP area of North Carolina.) The booth often includes interactive elements as well. You can see where SGS will be selling next on the events page!
Smote is a queer, multidisciplinary creator with a love of axolotls, tea, books, and nature. Their work spans traditional printmaking and painting to digital art, merchandise design, photography, and more. Much of Smote’s passion for art stems from the profound impact both science and technology played in their early life and continue to be the foundation of their work to this day. Focusing on deconstructing familiar and unfamiliar elements, Smote seeks to create something new where disparate elements combine to create a dialogue with the viewer and the work.An Ohio Native, they attended Kent State University where they received a Bachelor of Fine Arts in Printmaking, a Bachelor of Arts in Visual Communication Design, and a minor in Photo-Illustration in 2015. Over the summer, Smote was awarded a two-week residency at Zygote Press and stayed on after to help the shop as an intern and private tutor. Additionally, they were invited to and participated in the Boston Mills ArtFest.In 2015, Smote began attending Syracuse University where they worked on the creation of the 2016 Salt City Dozen juried portfolio and accompanying website, printed under Art Werger and Koichi Yamamoto with Lake Effect Editions, worked as a monitor in the print studio and fabrication lab, and assisted with teaching multiple printmaking courses. They graduated in 2020 with their Masters in Library & Information Science while continuing their work with library makerspaces and creative programming.Smote’s work has been shown in several galleries and exhibitions including Baton Rouge Gallery, Summit Artspace Gallery, the GAR Foundation, ASM International, and Zygote Press. Their work has been published in The Hand Magazine, the artist collective, Ghostbook, and the charity artbook, COLORS Project and has been purchased by private collectors and public institutions. They continue to teach papermaking, printmaking, digital art, and design in both private and public capacities.In 2023, Smote was awarded an Artist Support Grant from the United Arts Council of Raleigh and Wake County, Raleigh Arts, and the North Carolina Arts Council, a division of the Department of Natural and Cultural Resources.
Originals, hand-embellished works,stickers:
Unfortunately, many small artisans find their works stolen, uploaded, and sold elsewhere without permission. I do not sell NFTs (non-fungible tokens) nor do I permit my work to be used for NFTs or in any other crypto-currency systems.My username for selling will almost always be SplitGillStudio so if you see my work posted anywhere else, especially under a different name, please reach out with the url and let me know so I can file a takedown report.
I do not sell on the following platforms:
* placeholder account to prevent username sniping
Please use this form to get in touch regarding suspicious sales activity:
Some sections are still under construction - please excuse the "mess"!
Artist Book, 2015
Serigraphy, plexiglass, acetate, Reeves BFK, cardstock
8" x 5" (when closed), 10 oz, Edition of 1
Three 'chapter' book of Earth inspired by my home and my love of nature and created as a physical manifestation of anticipated nostalgia regarding my significant change of locale after nearly 26 years of living in the same area.Chapter 1: Cartography | Chapter 2: Stratigraphy | Chapter 3: Topography
Artist Book & Installation, 2015
Serigraphy, plexiglass, handmade gampi paper, light
4" x 7.5" (when closed), Edition of 1
Skins uses light and shadow along with printed media to convey the fragility of human existance. The book itself feels incredibly delicate, the membranous handmade paper barely keeping the book together, the clear 'pages' precariously balanced with no support. The skin cells, from one direction slowly fade as they die. However, the paper is much stronger than it first appears and the plexiglas panels are robust. The light blows out the printed media but casts intense shadows upon the surface the book rests upon. Read the opposite direction dying cells return to life.
Serigraphy & Relief Monoprint, 2015
11" x 15", Edition of 24
Part of the "OH•IO•WA" Spring 2015 print exchange between Kent State University and the University of Iowa. There were 22 participants total.All 22 prints were displayed at the University of Iowa Elizabeth Catlett Print Gallery in May of 2015.
25" x 16", Two Editions of 20
An Unsurprising Collection of Visual Ephemera I (teal)
An Unsurprising Collection of Visual Ephemera II (green)
Presented as a diptych with both variations mounted side-by-side. Images pulled from mark-making experimentation with various mediums.
Watercolor Serigraphy, 2012
Serigraphy, watercolor, watercolor pencil, gold varnish
40" x 32" (with mat)
This small variegated edition was created from a single screen print of watercolors and watercolor pencil. The inspiration for these images comes from microscopic photographs of different chemical compounds and cellular structures. The darker yellow/brown overlay is a shimmering gold tone.
Edition of 15
The piece is very personal but reads as abstracted to others since those outside of my family will not be aware of the significance this work has.Aconitum is a print inspired by my childhood home and the wildflower garden my mother used to have. She was very proud of the monkshood (aconite) flowers that grew there. They were rare enough that she was even in the newspaper for their presence in the garden.The shape of the piece directly relates to our plot of land with the blue representing our house and the lighter brown our driveway. Looking closely you can see the pathways through the garden and the plots where the flowers and trees mainly grew.
Sculptural Print, 2015
Serigraphy, hand-cut Stonehenge paper
Flux is a variation on the BangBang prints, taking the two-dimensional form and through cutting and re-arranging the forms, creating a new piece. Flux is in response to the perceived view of the BangBang as lichen or some type of organic life form despite the fact that the original image is of a bullet hole in glass.Flux seeks to juxtapose this life and death imagery, settling into a middle-ground as the sculptural form takes on a blossoming flower-like aesthetic but still maintains the sharp edges and the feeling of chaos and destruction.
Icarus and The Albatross
Serigraphy, laser cut Stonehenge paper, gloss varnish, beeswax
Part of the 2014 Summer Blossom Arts Printmaking workshop: Printmaking in an Expanded Field. The project idea is based on the Icarus mythos and dabbles with the ideology of the albatross from the Rhyme of the Ancient Mariner. A major component of this installation was the documentation of the processes used. Over 930 feathers were printed for the Myths, Tales, and Illusions: Prinstallation exhibition.
Plaster Relief, 2013
Plaster, ink, gold gilding
Wassily Columns was inspired by the plethora of prints during the Fall 2013 IFPDA print week in New York City and a stunning exhibition of Wassily Kandinsky's works at Neue Galerie. It is also an experiment with printing into plaster, a process that is both both intriguing and rewarding.
Rice paper, vellum, inkjet
A book project highlighting Han Han, one of China's most popular bloggers and one of the Time magazine's most influential people in the world from their 2010 edition. This hand-bound book features traditional top-stitching, vellum overlays, and bright red inserts invoking the sense of Chinese traditionalism and Han Han's methods of working around government censorship.