Collaborative Artists’ Zine

Goldey Projects is thrilled to publish the zine Field Guide of the Plants of Lake George, NY. This zine features a collaborative project with Yan Cynthia Chen, Lauren Comito, Jenn Dierdorf, and Anne Schaefer.

Eugene Cecil Ogden published the original guide, “Field Guide to Aquatic Plants of Lake George, New York,” in 1976 with the New York State Museum. In June 2026, Goldey Projects organized a group of artists to create a collaborative artist book inspired by this original guide made fifty years ago.

The primary location was Huletts Landing, NY, a small hamlet on the east side of Lake George, situated north of Black Mountain. This guide reveals a small selection of the plants studied and the prints made.

The goal was to create a version of this guide that functioned as a collaboration between the nature encountered and the artists who acted as its stewards. To produce the images, the group used lumen prints—an alternative process that utilizes sunlight to develop the image.

Lumen prints are cameraless contact prints made by placing slightly dampened plants onto the surface of photographic paper. The chemical reaction between the silver salts and plant chemistry—specifically phenolic compounds—creates the coloration. Phenolic compounds are electron-rich and are part of a plant’s defense mechanisms. Examples commonly found in plants include phenolic acids, flavonoids, stilbenes, and tannins.

These compounds provide defense against insects, protection from the sun’s UV radiation, support for cell wall structures, and signals to attract pollinators. Beyond the available sunlight, the quality of which changes drastically throughout the year, temperature and humidity levels are also factors in the resulting images. As viewers are about to see, these images are otherworldly and not at all what one would expect.

This book functions like a scavenger hunt. The orientation of the pages may rotate depending on the section, and there is purposeful repetition within the pages to help strengthen neural connections.

When viewing the work, readers should keep in mind that these are indexical images produced by the physical structure and chemical compounds of the plants themselves. Common and Latin names are included for all identified plants, and some entries feature descriptive text highlighting specific features from the guide.

Zine designed by Lauren Comito
Lumen print by Lauren Comito
Lumen Print by Anne Schaefer
Lumen Print by Yan Cynthia Chen
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ON THE EDGE OF THE INFINITE (PART 12): AS ABOVE, SO BELOW

A One-Night Immersive Show of Live Percussive Dance, Surrealist Art, and Tarot on the Lower East Side

Featuring: Melissa Almaguer, Iliana Ortega, Courtney Puckett, Rachel Grobstein, Lauren Comito, Adina Andrus, Julia Popescu

Event: On the Edge of the Infinite (Part 12): As Above, So Below

Date & Time: Saturday, August 29, 2026 | 6:00 PM – 9:00 PM

Location: Lichtundfire, 175 Rivington Street, Lower East Side, New York, NY 10002

On the Edge of the Infinite is a series of one-night events that explores the fascination with the end of time and what lies beyond it. Focusing on the space between an ending and the limitless unknown. Curated by Laura Horne, Steven Pestana, and Sophia Sobers.

In this twelfth edition, that threshold is explored through the framework of the Tarot, a system built on archetypes, fate, and human transformation. Tap dancer Melissa Almaguer will act as an alchemical anchor in the space, using improvisation to turn the floor into a live acoustic heartbeat. Video artist Iliana Ortega’s projection Essays On Light, six short works created with sound designer Ivan Naranjo, uses nocturnal projections softening the physical boundaries of the room pulling the viewer into a dreamlike environment.

Lauren Comito traces the flattened templates of everyday packaging to reveal hidden geometry, building drawings and paintings that function like ancient schematics. Courtney Puckett builds three-dimensional totems out of discarded furniture, household items, and textiles. Her work connects modernist sculpture with generational traditions of feminine craft, particularly in her “Characters” series that stand around the room like towering Major Arcana figures. In Adina Andrus’ “Party of the Mystics” series, she creates votive objects evoking ancient ceremonies and festivals centered around natural and cosmic deities, with each work named after a month of the year to emphasize the cyclic nature of rituals. 

Rachel Grobstein uses miniature sculpture to examine overlooked daily routines. Her UFO series imagines a provisional museum display of UFO artifacts scattered among everyday tools. Her work mirrors the unstable, intuitive nature of divination, showing how we gather symbols to attempt to make sense of life’s larger mysteries. Bringing the theme full circle, Julia Popescu (aka Snakes for Hair) brings her deep background in mythology, symbology, and world mystical traditions into the room, offering live Tarot readings throughout the night so visitors can directly consult the cards.

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Enduring Geometry

Lauren Comito’s prints represent systems of complex organization, figures that dual as both schematic and substrate — waiting to be activated, assembled, and cultivated. Working from flattened packaging as templates, Comito traced the hidden geometry of everyday containers, finding within them the raw material for something far more enduring. Reminiscent of ancient codes and sacred icons, these large-scale black and white prints are blueprints for rebuilding, their shapes and compartments folding and unfolding to reveal a packaged logic that functions as both instruction manual and devotional object. The shapes drawn from these humble containers — their circles, grids, and bilateral symmetry — carry an unexpected resonance, echoing the geometry found in nature and in the sacred objects of ancient cultures. In reclaiming the disposable as something monumental, Comito’s work quietly asks what we choose to preserve, and what we throw away.

New School PTF Develop Fund Awardee

Recently I was awarded a grant through the New School where I have taught for the last 4 years. This is funding goes towards the making of my first artists’ book. I began my journey by taking a workshop with Anne Eder at the Penumbra Foundation to learn how to work with phytograms and lumen prints. This fascinating process uses plant chemistry. Below are some of my first experiments.

The following group of images are examples of lumen prints and contact prints from the phytograms above. I experimented combining plastic packing with the botanicals.

Repair + Rebuild

These are portraits of totemic deities. These devotional drawings are made by tracing the flattened templates of everyday packaging to reveal hidden geometry and organized structure. These are Each work is 18 x 24 inches and cyan, magenta and yellow ink on paper.
Elder, 2026, 18 x 24 inches and cyan, magenta and yellow ink on paper.