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    The Interstitial Arts Foundation is a not-for-profit organization dedicated to the study, support, and promotion of interstitial art: literature, music, visual and performance art found in between categories and genres – art that crosses borders. Find out more!

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    Thanks to 277 generous backers for our Interfictions Indiegogo Campaign, we raised $10,318 by the time our campaign ended at midnight, July 14th, 2014.  When we launched on June 3rd, we were staggered to find donations doubling almost daily, until after about 3 weeks we had reached our original target goal of $8,500, and were able to move on to our Stretch Goal of $10,000.

    Which means we not only get to publish Interfictions Online for another year, but we can pay our contributors at higher rates now, rates more in line with the effort and talent that innovation requires. Thank you, each and every one of the 277 generous donors who stepped forward to say that interstitial art is valued and valuable. The number of people is as important as the number of dollars raised. We are awed by your generosity.
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    INTERFICTIONS issue #3 is up online!

    The editors of Interfictions Online are happy to announce the birth of the journal’s latest issue, on May 22, 2014!

    The Spring 2014 issue’s non-fiction offerings include Mark Craddock’s poignant collage in Aerial Acrobatics and Gender Reassignment Surgery – A How-To Guide, while Inda Lauryn’s Parallels and Transitions splices analysis of contemporary female vocalists into a graduate school memoir. Isabel Yap’s Life Is Not a Shoujo Manga speaks for itself. And in an interview with Jeff VanderMeer and Jeremy Zerfoss, the two creators discuss their illustrated guide to writing, Wonderbook.

    The fiction offerings remix tropes from ghosts to automata, with new work by Richard Butner, Su-Yee Lin, Kat Howard, Tade Thompson and S. Craig Renfroe Jr.

    Several of the poems in this issue reimagine older narratives: Sridala Swami’s AI Winter draws on the Mahabharata, Sonya Taaffe’s Double Business on Hamlet, and Mary Alexandra Agner’s Hypothesis Between Your Ribs on the brief life of Charles Darwin’s daughter.


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  • The Night Garden Project – Art for a Good Cause
    by Erin | January 8th, 2011 |

    It’s always good when art reaches out across borders, crossing from one medium or style into the next. What’s equally important is when such artists come together to form a group like The Night Garden Project, which gives interstitial artists and conventional artists a place to gather where they can display and to sell their work in support of a good cause.

    The project is led by Jess Mersky and organized by a group of online friends and artists who wanted to display their art, and to put it to good use. The Night Garden Project’s website is up, open to visitors, and accepting new art submissions. You will find everything from photography to literature, to textile arts, to jewelry, and more. In addition, The Night Garden Project has Facebook and Twitter accounts to give their artists an interactive community as well as a place to show their work. I recently had an opportunity to interview Jess Mersky about The Night Garden Project. I, for one, am looking forward to what they do next.

    Night Garden Gate - Aleta Johansen

    What inspired you to create The Night Garden Project?

    Jess: This is something which actually began online a couple of years ago, just among a group of friends who wanted to collaborate on something together. Although, at that time, what it would be was still an open question. But the philosophy and intent behind the idea was much the same as it is now: to bring artists of all types and stripes together to exhibit their individual skills in some way, around some common theme with each individual doing whatever it was that they did best– weaving, painting, writing, sculpting, making jewelry, anything. Around the time I became involved, we began talking about gardens– the things in them, the things that come to them, the things that draw us to them. The whole idea of “the night garden” grew out of that, and the stories we told each other. After a while it just began to seem like a narrative with legs. There was this sense that we could make something artistic that would perpetually grow and change– like a garden– as we continued to play with the idea, and as more people joined in.

    While conceiving the project, was it originally designed to help support a non-profit organization?

    Jess: The idea of using the project as a fundraising venture to support a charitable cause came much later, really around the beginning of this year [2010]. Part of the reason for that, I think, was that the narrative on its own wasn’t enough to sustain the project, or make it evolve. It wasn’t initially that perpetual motion machine we hoped it would be. Art needs a reason, and giving the project a practical, charitable aspect reinvigorated things. It became about making something for a greater good, to satisfy something more than just ourselves. It gave the project a sense of possibility, and purpose, that it hadn’t had before.

    At this point I feel like our purpose is twofold: to support Great Lakes Bengal Rescue, but also to promote the arts in a sort of grassroots, hands-on way. Not just in terms of generating enthusiasm, but encouraging people to make a place for the arts, and for creativity, in their lives. At a time when we’re hearing so much about funding cuts, and in some cases programming cuts, in the arts and humanities at universities and elsewhere, I think it’s vital to remind people that art has a purpose, that it can make a real, practical difference, that as a society, we need it. I’m a big fan of teaching appreciation by doing; people tend to better understand what goes into making a piece of art when they can pitch in and get their hands dirty. To my mind, that shift from art as a nebulous concept to art as something you do is what’s really at the heart of this project.
    Through the Night Garden - Nathalie Boisard-Beudin

    Submissions for new pieces closed on 10/31/10, when will they open again?

    Jess: The straight answer is between January 1st and April 30th of 2011. But technically, we accept stuff year-round, and we like participants to come back, once they join us. The deadlines are really there to give people a finish line to shoot for, sneaky motivators and reminders more than anything else. At this stage, very few people know we’re out there; we don’t want new contributors put off by the notion that they’ve somehow missed the boat, when in fact anyone can get on the boat at any point.

    The project runs on an open-acceptance basis, meaning we’ll take whatever people send, so long as it interprets the central theme in some way. Likewise, participants needn’t have prior experience or training in the arts to contribute at all, just a willingness to put in their best effort. Which I suppose may seem counter-intuitive, the idea that there’s no “quality control”. But the project is meant to be a learning space, and an opportunity for artists and novices alike to work together, and to stand together. The project isn’t a talent showcase; it isn’t our purpose to put a stamp of approval on the work people send. Our aim is collaboration, on the one hand, but also to give our creative efforts a practical dimension, to make the work do something beyond itself.

    Fireflies and Stardust - Nathalie Boisard-Beudin

    What has the response been from viewers, customers, artists? Any stories to share?

    Jess: As I say, not a lot of people know we exist; the project’s been around in one form or another for a couple of years, but only fully functional in the last few months. We’ve had a lot of people on Twitter and elsewhere say they’re intrigued by the idea, but the most rewarding responses so far have really come from our contributors themselves. For a lot of them, it’s the first time they’ve shared any of their creative efforts with anyone, anywhere. I’ve had so many emails from people saying, “No one knows I can do this,” or, “I’ve never been given a chance to be a part of something like this; no one’s ever encouraged me before.” For me, that’s one of the most important things about the project: it shows people what they can do, and that what they can do has worth, and dignity.

    The project’s a great equalizer, in a way– we have professional artists and craftspeople, and we have people who are just trying things for the first time. Look through that contributor page, though, and not one person on it has less intrinsic “validity” as an artist than any other. I hear so many people say, when I tell them what I do, or about the project, that they wish they were more creative, more talented, more imaginative, more “important”, that they had more time. And often what they don’t understand is that art and the making of it is not just the province of certain, special people. It’s possible to make a place for art and creativity in one’s life, regardless of your background, your training, your experience. I like to think we’ve proven that when you give people the space, and a reason, for art, they’ll reach inside themselves and pull out amazing things. The results might be stunning, or they might be a bit awkward. But never without value, beauty, or meaning.


    To learn more about The Night Garden Project you can visit them at online at on Facebook and on Twitter.

    finish line

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