Fleming Jeffries' works on paper rely on drawing as a means to slow down the mind’s eye and opens bridges to the subconscious.


A native of Washington DC, she received an MFA in Printmaking from Rhode Island School of Design, and a BFA in Printmaking and BA in Russian from the University of Alaska Anchorage, as well as the Printer Training Certificate from Tamarind Institute of Lithography in Albuquerque, New Mexico.


Her work has shown in the US and internationally and can be found in private and public collections, including the RISD Museum, the Corcoran Museum of Art, and the US Department of State’s Art in Embassies Program. She has been awarded purchase prizes and residencies, including the Winter Fellowship at the Fine Art Work Center in Provincetown, Massachusetts and Keyholder Residency at Pyramid Atlantic in Maryland.


Fleming’s interest in collaborative printmaking began as a student in Moscow Studio, Russia (now Hand Print Workshop International). She completed the Printer Training Program at Tamarind Institute of Lithography in Albuquerque, New Mexico and worked on the writing and illustrations of The Tamarind Book of Lithographic Techniques.


She taught Printmaking, Drawing and Foundations at George Mason University in Fairfax, Virginia and American University in Washington DC before joining the PAPR (Painting and Printmaking) faculty at Virginia Commonwealth University in Qatar in 2013.


Venturing beyond the restrictions of the wakeful mind and physical presence, Fleming Jeffries chooses subjects that investigate the complex relationship between people and the natural world.  In prints, drawings, and book-forms the artist's work aims to present a meeting ground between natural forces and human technology in a series of metaphorical places. “Haunted Beach,” a West Side Story of the intertidal zone, reveals private moments of gulls and seaweed, normally shielded from the human eye by the inaccessibility of sea and air. 


In an attempt to understand the puzzling line between artificial and natural, she includes representations of technology as a stand-in for human presence. “Hydrofantasies & Mechanomorphisms” features six different hydrologic technologies, loosely based on existing technology, such as the proposed solutions for replenishing the Aral Sea and the question of using iceberg towing to supply freshwater.  Clouds are whipped into enticing ornamental terraces in “Cloud Garden,” in a discussion on cloud seeding and weather modification technology.  


A current, ongoing print project, “Indigenous Trees of the Future” explores deforestation, reforestation and bio-mimicry.  The prints often favor hand-drawn techniques as a means to reinforce the connection to protected sanctuaries of the mind as well as to slow down the reading of the images. The sense of visual disorientation between historical and future projections is exceptionally rich when using traditional techniques, such as intaglio printmaking.