Ebinger is a Tamarind trained Collaborative Lithographer and Flatbed’s Education/Community Program Manager. Ebinger received her BS in Art Education from the Minnesota State University of Moorhead. In 2016, she stepped away from teaching high school art to attend the Pennsylvania Academy of the Fine Arts (PAFA) where she completed her MFA. Ebinger studied printmaking with an emphasis in lithography along with bookmaking, drawing, and sculpture. She was the lithography Graduate Assistant for Ron Wyffels during her time at PAFA and continued to be his assistant after her graduation in May 2018.

Ebinger was accepted into Tamarind Institute’s Printer Training Program for the 2019-2020 year and continued her collaborative printer education as Tamarind’s Frederick Hammersley Apprentice Printer for 2020-2021.

Now residing in Austin, TX, Ebinger is the collaborative printer at Flatbed Center for Contemporary Printmaking working in lithography, copper plate etching, relief, and monotype. She has printed for artists Ellen Lesperance, Paula Wilson, Rose B. Simpson, Maja Ruznic, Ellen Berkenblit, Inka Bell, Linda Rigway, David Everett, M. Benjamin Herndon, Miguel A. Aragón, Laura Crehuet Berman, Jennifer Anderson, and many more.

Artist Statement

As a collector and observer, there is an anthropological sensibility to my work and my art practice. I use my observer and collector identities to explore the connections, relationships, and details that I find in the world around me. I am constantly analyzing and documenting the things I encounter and find fascinating, such as the delicate lines of a fingerprint or the beautifully organic, natural decay of life. I have started two separate, but very connected collections. One being fingerprints from friends, family, and even strangers which I then use as reference for my lithographs. I focus on areas of a person’s fingerprint that I feel are its distinguishing markers, then use that information to create these organic, fluid toner washes that abstractly mimic the individual’s fingerprint. The other collection I have is photographs of dead/decaying animals that I find while wandering. I create lithographic drawings of these animals that live in the realm of realism, but place them in an organically abstract, yet peaceful world to rest. I empathize for their loss of life and in some way I feel I am memorializing them or perhaps giving them a space to exist in after they have gone. My empathetic tendencies compel me to create sculptures and prints of the creatures I find along with the fingerprints I collect. I get consumed by the making and doing aspect of my art practice and the turning of things I find or collect into precious objects. Utilizing lithography, intaglio, and sculpture allows me to give each object the space it needs to become something I consider precious. The time and diligence that I give to each process when creating these objects stimulates a meditation on each one, elevating its preciousness.