Visual Talk: Amanda Eve Heidt

Please join us for another of the FM Visual Artist's "Visual Talks"! Thursday, October 16th at 6:00PM we are proud to present artist Amanda Eve Heidt! This event is free and open to the public.

Artist Biography:

Amanda Eve Heidt is an artist and educator based in Fargo, North Dakota. She serves as the Artist Researcher and Studio Coordinator at North Dakota State University’s PEARS
(Printmaking Education and Research Studio), where she teaches courses in contemporary theory and practice, foundations, and printmaking. She is a lead artist and collaborator behind
the Tiny Press Project. This mobile, community-focused printmaking initiative expands access to the arts across the state through partnerships with schools, museums, and community
organizations.

Originally from Bismarck, Heidt earned her BFA in Printmaking from Minnesota State University Moorhead and is a recent graduate of the School of the Art Institute of Chicago, where she
completed her Master of Fine Arts. Her practice has been shaped by residencies at the Robert Blackburn Printmaking Workshop (NYC), Zea Mays Printmaking (MA), and other collaborative
creative environments that value knowledge exchange and shared skill-building.

Heidt has received support from the North Dakota Council on the Arts and The Arts Partnership, as well as scholarships to Ox-Bow School of Art and Artists’ Residency, Arrowmont School of
Arts and Crafts, and Haystack Mountain School of Crafts. Most recently, she was awarded a Viking and Finnish Weaving Apprenticeship from the North Dakota Council on the Arts and a
residency at Praxis Fiber Workshop for 2026.

Artist Statement:
Rooted in printmaking and fiber arts, my practice is guided by slowness, repetition, and reciprocity. Through weaving, natural dyeing, and eco-printing, I explore how material engagement becomes a language of care, resistance, and remembrance. My work draws from folk knowledge and contemporary theory—particularly feminist philosophy, ecological ethics, and decolonial thought—and embraces tactile relationships with land, labor, and lineage.
Living and working on the northern prairies of North Dakota, I respond to seasonal shifts, weather patterns, and the embodied memory of place. My practice becomes a visual and material diary: I forage windfalls, steep pigment, and walk with intention. These actions yield not only physical artifacts but also site-responsive works that trace cycles of transformation,
turning gathered fiber and dye into narrative textiles and prints. I investigate how ancestral stories, sensory memory, and ecological systems become entangled and expressed through
materials. Process is always visible in my work. Whether weaving, printing, or binding books, I treat tools like the loom and press not as neutral technologies, but as collaborators in meaning-making. I
see slowness as a methodology—an act of resistance to commodified time, and a reciprocal way of knowing grounded in interdependence.

As an educator, I extend this ethos into communal spaces—classrooms, workshops, and public programs—where shared making and collective learning are prioritized. These spaces are built through openness, attentiveness, and mutual respect. Above all, I seek to cultivate environments—textile, printed, communal—where time slows down and care is held as a shared resource.