Graphic designer, photographer, and writer, Ivonne Saed has extensively explored the crossroads between the visual and the textual within the Humanities, both in her own professional creation as well as in teaching. She published the novel Triple crónica de un nombre (Mexico: Lectorum, 2003,) and the non-fiction book Sobre Paul Auster. Autoría, distopía y textualidad (Mexico: Lectorum, 2009.) She co-authored the books Literatura: imaginación, identidad y poder (Mexico: ITESM and M.A. Porrúa, 2009,) Vampiros transmundanos y tan urbanos (Mexico: Skiros, 2011,) and ¡Madres! Cuentos (y precauciones) de maternidad (Mexico: Textofilia, 2011.) Saed has also published book reviews, photos and stories in newspapers and magazines, like Reforma, Crónica (in Mexico), and Literal Magazine (in the US). Ivonne’s photographs have been shown in galleries in the United States, Mexico, and Turkey. Her first documentary Naïve premiered in March 2011 as part of Object Stories, a Portland Art Museum project. She came to Oregon in 2003 as a Fulbright Scholar-in-Residence and has taught graphic design, literature, and interdisciplinary courses widely at Universidad Iberoamericana, Chemeketa Community College, and Marylhurst University, among other institutions. She is a Delve seminar guide for Portland’s Literary Arts. As a graphic designer she has worked since the early 80's in projects of all sizes for a wide variety of clients (medical, computing systems, lingerie, music, and architecture, to mention a few).
You can see some of her work at www.saedgraphic.com
Triple crónica de un nombre. (Triple Chronicle of a Name.) Mexico: Lectorum and Fundación Cultural Eduardo Cohen, 2003. Juan Rulfo National Award for First Novel 2002.
"La file 19" ("Row 19"), "Lucy", and "Caer" ("Fall") in ¡Madres! Cuentos (y precauciones) de maternidad. (Mothers! Short Stories (and Precautions) on Maternity. Mexico: Textofilia, 2011.
"Acecho en línea" ("Online Stalking") in Vampiros trasmundanos y tan urbanos. (Urban Vampires of the Afterlife.) Mexico: Selector, 2011.
Sobre Paul Auster: Autoría, distopía y textualidad. (On Paul Auster: Authorship, Dystopia and Textuality.) Mexico: Lectorum, 2009.
Literatura: imaginación, identidad y poder. (Literature: Imagination, Identity and Power.) Literary theory. Mexico: Instituto Tecnológico de Estudios Superiores de Monterrey-Campus Estado de México y Miguel Ángel Porrúa, 2009.
Literary reviews in Reforma, Crónica, Hoja por Hoja, Archivo Maaraví and Ciudad Letrada.
Naïve: The Exvotos of Rose Quintana. A documentary as part of Object Stories, a joint initiative by the Portland Art Museum, the Northwest Film Center and Teatro Milagro. Portland, OR.
On Paul Auster. Literature Week, Universidad Iberoamericana. Mexico (2011).
Citas instantáneas (Instant Quotes or Quotes as Snapshots): Photography as Translation and Transgression in Julio Cortázar's "Blow-Up". American Contemporary Literature Association. Puebla (2007).
Esthetics: Innovation, Evolution and Beauty. Panel moderator for the Sustainable Design and Construction certificate program at Universidad Iberoamericana. Mexico (2006).
Sharing Stories: Negotiating Cultural Boundaries for Sustainable Growth. Two-Year College Association and Community College Humanities Association. Portland and Seattle (2004).
International Lecture Series. Linn-Benton Community College. Albany (2004).
Distilling Family Stories into Fiction. Chemeketa Community College. Salem (2003).
Disciplinas transparentes in the Humanitas Cathedra at Instituto Tecnológico de Estudios Superiores de Monterrey, Campus Estado de México (2003).
Creative Process Seminar and Retreat for EntreSujetos. San Miguel de Allende, 2002.
Fulbright Scholar-in-Residence 2003-2004 at Chemeketa Community College. Salem, OR.
Honorable mention at the Juan Rulfo National Award for First Novel 2002 for Triple crónica de un nombre (Triple Chronicle of a Name), Mexico.
Honorable mention at the 1997 Sad Short Story Award by Editorial Alfaguara for “Blue Blue Story”. Mexico.
Travel, culture, contemporary architecture, literature, art, science.
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