I met Margo a few years ago at a holiday gathering when I heard someone say, "C's an artist!" Needless to say a connection was then made that would afford me my introduction to monoprint making but more importantly a new art friend that I more often than not see eye to eye with who is always enthusiartic about creating. Margo understands the importance of community and inviting others into spaces to engage. Below I ask my friend Margo a handful of questions about her life and printmaking

C. Why'd you choose printmaking? What has the journey from small press to large press been like for you?

Margo: I am a painter but back in the early 2000s I got very sick and did not have time or energy to paint. As a distraction I took a course with a friend on printing dry layered watercolor onto damp paper with a rolling pin. It worked and was quite satisfying. Once I finally got well I took a two week workshop on monotype printing, loved it, and have been printing ever since.

Going from a 20x40 press to a 42x70 was very difficult physically and mentally. I needed larger paper, more ink, and tools with better coverage. The change happened gradually but it did become apparent that many of my images had been cramped and that I needed to work in a larger scale. I believe the work became more like my paintings and was much more physical. Before I made monotypes I used acrylic paint to make abstract paintings. I also did a series of small Maine rocks enlarged to become the center of interest on the paper.

C. Has your previous work as an educator informed your process and technique producing currently as a Printmaker?

Margo: My years of teaching show up when I have visitors in the studio. I love to share my skills with other artists. Teaching does encourage thinking in sequence so I expect this does help me with my print making.

C. What benefits does printmaking afford you that nothing else can?

One of the qualities of monotypes that I love is the way the ink picks up texture and transfers it to the paper. The detail is very impressive. I layer my prints just like I layered my paintings. So my prints feel substantial. Very recently I have started to use more extender with my ink which enables me to glaze over colors so that you can see what is below.

@margo.ogden

https://www.mogdenstudio.com/

I hadn't visited Guggenheim since the Hilma af Klint exhibit in 2018. It remains one my fondest art experiences to date. Realizing time was running out to see Rashid Johnson's show I joined a friend who'd invited me months before. It's unfortunate I'll likely not get to attend again as it ends in five days. Over the years I've come to understand (at least for me) in order to truly take in the work of an artist time is a major factor. Multiple visits. Viewing alone and then one on one or with others. In order for me to fully pay respect to the work, the artist's labor in creating it and form a substantial relationship with it if I so choose; I need ample time.

I can't breeze through, glancing at work then move on expecting to gain much. Makes me think of the line in Renegade when Jay-Z says, "Do you fools listen to music or do you just skim through it?" The sentiment is right in line. 

I also can't form a full opinion in an instant. An initial visceral response does not determine the value of the work or potential impact. All art does not elicit one. It adds to the issue with many people passing immediate judgement on art. I could speak ad nauseum on how collectively our manner in consuming art needs to evolve. But I won't. At least not now. No time.

Building this AG TrapHaus movement I have numerous things to consider. In refining my goal of making art accessible and using this portal to connect with people seeking first and foremost art as well as community and inspiration, I’m most concerned with broadening the conversation by introducing more than typical voices we’re all so used to hearing. 

The actual world of Art is immense. The traditional art world is miniscule in comparison. I'm here to inform people of this fact. Today's short interview is with emerging collector Daniel Hardgrove who stood out to me more than any other person on Threads in the last couple of years. Highly engaged and sincere while building community on the app, with his immediate addressing of my queries about artists he'd collected directly on the timeline, Daniel made it clear he was no engagement farmer toying with undiscovered artists desperate to make a sale.

C. You're probably the first person I've seen online asking to see art who not only collects it but continues awareness campaigns for the artists you engage. How did you come to this approach? It seems genuinely important to you.

DH. God works in wonders. During a meeting at my church we discussed growing in the social media realm. God put the feeling heavy in my heart to get back into social after my years of absence.

I started with IG then onto Threads. I didn’t exactly know what I was going to do on social. However, on Threads I kept seeing art.

I saw a couple art pieces that got something out of me. Feelings and thoughts emerged. Out of something someone else created. Naturally that means I had something to relate to with the artist. Connections were made I value greatly.

However, the art kept coming to my mind. Like when I was in jail with a bunch of store hoarded for myself. I had just discovered my relationship with God in jail 2019/2020. He put it heavy on me to share with my fellow inmates. It is that same feeling that causes me to engage with and support artists.

C. What is challenging about being an emerging art collector in 2026, namely navigating the online world?

DH. The challenge of collecting art in 2026 is learning yourself. If you want to keep those connections with artists I learned it is best to keep it professional. I have tried to be funny or when I get to be an excited dumb*** I say the wrong thing. Art has helped me be as neutral and loving as I have ever been. Find the proper balance of being yourself while being considerate.

Another challenge mainly with online is that artists have to deal with scammers. Your approach and profile as a collector needs to show you are genuine and actually collect and are not a scammer. I see those fake art collectors, they try to show artists a nice buttery biscuit in exchange for their art but they are a moldy core in reality.

C. Do you have any tips for people looking to collect their very first piece of art? Are there any resources you personally use you would like to share?

DH. Years before my art collecting I had watched Sky Arts Portrait and Landscape Artist of the Year. This was a massive seed for my art collecting and learning. Kate Bryant definitely had an impact on me.

Also I used to work in collectables; I worked for a high end coin store years ago. That collector life stuck with me. Getting that experience young was incredibly stressful but I learned an incredible amount. Getting away with learning on someone else’s dollar can be a blessing.

Getting my first piece was one of those ‘I knew I had to have it moments’. I usually collect in this way. I had the experience from the coin store to learn that if you really want something it is okay to think on it but wait too long and someone else will buy it. Sometimes a piece that gets away is a reminder you have good taste.

...

Below are a few artists Daniel introduced me to and their work. 

Kelsey Critchfield-De Ferrari @kaycritch

J @potato_paints_pokemon

rekoro @rekoro.so

"The whole purpose (and what I hope my purpose remains) is to make people THINK for themselves. My artwork doesn't quickly choose a side, it just gives you visual feedback and you have to sit with it. That’s why my art I feel belongs ideally in unusual places. I want my presence to be unavoidable in certain circles, I don’t want to be confined to a white wall or some stuffy permanent collection in a museum. (Maybe one or two pieces who am I kidding lol) but the vast majority is going to remain ACTIVE. I want people to look at my shit in Subways, alleys, airports, basement studios, underground youth spaces, fashion halls. Places that combine my audience with my message. Most of all I just want to continue making whatever the hell I want and not be bound by some pandering curator telling me what the current trend is so they can sell quick."

The above quoted text came from Stephon in a DM exchange shortly after I followed him on Instagram. There's nothing more pleasing than an artist who knows what they want and are attempting to achieve. Direct and to the point. To be honest there's nothing for me to say. I've made the introduction. Sit with his words and images. Follow him and you're welcome. 

Artwork in order or appearance from lead in carousel are as follows: Pageant for a Housewife, Velociraptors, Residue and Centralized above which leads text in blog. 

Philip Guston

American, born Canada. 1913-1980

Gladiators 1940

Oil and pencil on canvas

Gift of Edward R Broida, 2005

John D. Graham

American, born Ukraine. 1886-1961

Two Sisters 1944

Oil, enamel, pencil, charcoal, and casein on board