Nicole Pietrantoni

108” x 300” x 8”

Inkjet on Awagami Inbe Thin, folded and bound into 33 accordion books.

2019

90” x 220” x 7”
Inkjet on Kozo paper, acrylic paint. Handbound into 17 accordion books.

2020

96” x 84” x 3”

Inkjet on Kozo paper, acrylic, screenprinted mirrors, photocopies, found objects.

2024

168” x 72” x 24”

Inkjet on Awagami Inbe Thick, folded and bound into 5 accordion books (each 22 pages) that expand to create a panoramic image.

Text written by Devon Wootten

Precipitous is a collection of handbound accordion books that expand to create a life-sized panoramic image of a rising sea. As books, the works gesture to the authority of the encyclopedic and the cataloguing of natural specimens. As an installation, they dismantle sublime images through cuts, folds, and halftone dots.

The overlaid poems by Devon Wootten are appropriations from reports issued by the Intergovernmental Panel on Climate Change. The text draws on the language of the report, Climate Change and Water.

2014

84” x 84” x 5”

Inkjet on Awagami Inbe Thick, spraypaint, folded and bound into 9 accordion books that expand to create a panoramic image.

Text written by Devon Wootten.

2015

108" x 396" x 12”

Inkjet on Awagami Inbe Thin, folded and bound into 30 accordion books that expand to create a panoramic image.

Text written by Devon Wootten

Implications is a series of accordion books that expand to create a panoramic image of icebergs in Iceland. The text simultaneously reads as both a poem (Risk[,] Event[,] Disaster) written by Devon Wootten and an official report on climate change, Special Report on Managing the Risks of Extreme Events and Disasters to Advance Climate Change Adaptation.

Working out of a long lineage of artists interested in the landscape, in this body of work I gesture to our active role in constructing and idealizing landscape. The installation aims to draw attention to the means of making such images by enlarging halftone dots and disrupting the image through folds, cuts, and ruptures.

Referencing 19th-century panoramas as well as the Romantic painting tradition, this work nods to a period when humans’ relationship to landscape was rapidly transformed. Similarly, today’s changing landscape demands that I examine the tension between my enjoyment of beautiful, idealized landscapes and an awareness of their ecological complexity.

2013

68” x 300” x 5”

Inkjet on Kozo paper, acrylic paint, bent steel.

Site specific installation for Meta Offices, Bellevue, Washington.

Curated by Tamar Benzikry and Lele Barnett.

2021

Images courtesy Meta Open Arts by Dominic Neri

144” x 48” x 36”

Inkjet on Awagami Inbe Thin, folded and bound into 6 accordion books that expand to create a panoramic image. Housed in a slipcase box.

Text written by Devon Wootten

2015

46" x 430" x 3

Inkjet print on bamboo paper, handbound into 75 accordion books.

2025

A site specific commission in Printers' Row in downtown Chicago. Drawing on the history of the print and book industry in this historic Chicago neighborhood, I created a series of halftone-printed accordion books that spans nearly 11 meters (36 feet across), with gradients of warm tones that mimic aged book pages. Located at Straits Row on LaSalle Street.

108” x 26” x 12”

Inkjet on Kozo paper with ink, handbound into accordion books.

2018

48” x 120” x 4”
Inkjet on Kozo paper, bent steel. Custom commission for Indiewalls in Chicago.

2025

120” x 84” x 12”

Inkjet on Awagami Inbe Thick, folded and bound into 5 accordion books that expand to create a panoramic image.

Text written by Devon Wootten

2016

156” x 127” x 20”

Inkjet on Awagmi Inbe Thick.

2018

Inkjet on Kozo paper, folded into over 200 accordion books. Installation at Eastern Washington University gallery in collaboration with poet Devon Wootten.

2018

54” X 24” X 7”

Screenprint on acrylic panels, c-clamps, spotlight.

This waterfall is falling for you draws attention to the ways in which our experience and expectations of nature are constructed. The work creates a beautiful image of a waterfall in Iceland while simultaneously revealing the photographic “trick” - the image is just a shadow projected on the wall. As viewers, we can understand and see how the image is being produced for us.

2012

14” x 12” x 7”

Screenprint on acrylic panels, c-clamps, inkjet transparencies, spotlight.

The series Build your own landscape draws upon the tradition of 19th Century landscape photography. Referencing glass plate negatives, the printed acrylic plates project a shadowed image onto the wall, while additional elements like moons, clouds, and trees can be rearranged on the plate to create the perfect composition.

2010-12

72” x 168” x 8”

Screenprint on acrylic plates, c-clamps, lasercut paper.

2014

A series of site specific works in Iceland during my year as a Fulbright recipient that explore the tourist’s position and privilege.

Monoprint with flour on black sand beach.

Commercially printed postcards placed in tourist shops.

2010-11