Laurie Price is a poet and a visual artist. She received her B.A. in Poetry from Naropa University (then called Naropa Institute, 1981) in Boulder, CO, USA.

In 1993, her first full-length poetry collection, Except for Memory, was published by Pantograph Press, Berkeley, CA, USA; in the same year, she was awarded a one-year paid poetry grant from the Wallace Alexander Gerbode Foundation, administered by Intersection for the Arts in San Francisco, CA, USA.

This allowed her to move to Oaxaca, Mexico and begin her life as a citizen of the world.

She wrote and made ‘the glass book’ that she’d dreamed about in 1981 (never thinking it would be possible to actually realize).

She created other text and glass-based visual art works in Oaxaca and later, in Mexico City.

In late 1995, she moved to Mexico City, Mexico. During this time she participated in a three-person exhibit. Her part included the glass book as part of a series of ‘literary art objects’ plus an installation, all made with glass, text and ephemeral objects.

The glass book is the only one of those projects that still exists. It’s a poem composed of seven glass pages on which words, parts of words or lines disappear or are transformed with each turn of the page.

Price’s visual art work has been exhibited in Mexico, the USA and Spain.

In 2013, her second full-length poetry collection, Radio at Night, was published by Lunar Chandelier Press, Brooklyn, NY, USA.

That same year, after a decade in Granada, Spain, where she began to make the series of assemblage boxes (See visual art above) she moved back to Oaxaca, Mexico to continue visual art and writing projects.

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In December 2019, her solo exhibit Transducing* / Transduciendo*, opened at the Biblioteca Henestrosa, in La Casa de la Ciudad, in Oaxaca, Mexico. The exhibit comprised twenty-eight works: assemblage boxes and installations.

In 2023 Price returned to making monoprints, something she’d begun to explore during her first time living in Oaxaca.

After attending a print workshop, where she made no prints, but instead, used the press to emboss textures into cotton rag paper, she began, on her own to make monoprints again, using a gelli plate. This bloomed into making mixed media works. Since then, that’s the majority of what she’s made.

detail from Pass-age - evidence & cadence / Pasadizo - evidencia y cadencia     2009