The drum-leafed text block is case bound and presented in a single-tray clamshell box covered in book cloth. The etchings are hand printed on BFK Rives paper, using solar plates for both background relief printing and intaglio printing of the text and graphics. The book measures 7”x10”x ¾”, exclusive of box.
Edition of 50.
Dark River of Stars is a collaboration of Oregon Poet Laureate Paulann Petersen, printmaker Barbara Mason, and book artist Laurie Weiss. The poems collected in this volume were gifts the poet sent out individually each Valentine’s Day to friends and family over a period of nine years.
Timeless Flow: A Willamette Calendar
The book is designed using Hedi Kyle’s Pivoting Panel structure, allowing the poems to float on the panels as along the river. Each page’s etchings are hand printed on Somerset satin paper using solar plates for both relief and intaglio printing. The text is in Garamond printed on translucent vellum paper. The book measures 6” x 9” x 0.75”.
Edition of 30.
Timeless Flow: A Willamette Calendar is the second collaboration of Oregon Poet Laureate Emerita Paulann Petersen, printmaker Barbara Mason, and book artist Laurie Weiss. The poems in this book follow the changes of the seasons along the Willamette River in Oregon.
The handmade apron samples in this book were based on historical patterns, mounted on card stock and framed with mat board; the fictional diary entries and period images are printed on an HP printer. The drum-leafed text block is case bound in fabric and book cloth on binder’s board. The book measures 8.25”x5.25”x 1.5”.
Edition of 5.
Over the past century, our home lives have changed dramatically, due to technology, wars, and a growing middle class, to name a few reasons. The faux diary entries and aprons in TIDYING UP shed light on some of those changes. It is an historical look at housekeeping from 1910 to 2010 through the apron styles and snippets of lifestyles of the period. Arlen Evensen, apron historian, said, “It will be a long time before someone invents something that will replace that old apron that served so many purposes.” TIDYING UP is a collaboration of book artists Patricia Cheyne and Laurie Weiss.
Erin K. Schmidt
winter stayed late
Hand felted wool, raw Icelandic locks, inkjet printed handmade cotton paper, pins, hemp twine, marionette stab binding.
Unique handmade book, 2014
The use of hand felted wool as the primary material in this book makes reference to the Burial in Woollen Acts 1666 – 1680 of the Parliament of England. Text printed onto handmade cotton paper is caringly pinned onto each felted wool, blanket-like page. The narrative describes the hopeful expectation of a new baby with the coming spring, and the soon to follow miscarriage that leaves only the expectation of spring. The repetition of the line “winter came early and stayed late” signifies the monotony of winter that continues on unknowingly and without feeling. The few words demonstrate the quiet pain surrounding miscarriage.
Inkjet printed silk, inkjet printed silk organza, Rives Artist 170gsm, Skivertek. edition of 12.
A family history of Alzheimer’s disease is represented by the repeated use of a single image in the book Telling Time. The photograph is that of a mother and her two children smiling as they are posed in a boat that rests on the shore. They are enjoying a warm summer day at the beach, a day to remember. The image, which is printed onto silk organza, slowly fades to white as each page is lifted until it eventually disappears completely. Thus, the memory is lost. The text is minimal but poignant, referring to the inability to read time on an analog clock, an early symptom of Alzheimer’s disease.
The text reads:
it was telling time that had become so difficult
and then there were the other things
Flag book. Ink jet printed BFK 280 gsm, ink jet printed mulberry, decorative paper, Japanese mohair silk bookcloth. 8 ¾" x 2 ½" x 5/8" closed, 8 ¾" x 7" x 2 ½" open. Edition of 20. 2016.
The central image of this book is a pastel drawing of a quiet canal in Venice. This serene scene is fragmented by the flags with text from Act 3 Scene 1 of Shakespeare's Merchant of Venice which is printed on the backs. The lines were originally spoken by the two characters Tubal and Shylock, but in this book they are used as the words and thoughts of only one person, someone in search of a girl. The text, in contrasting fonts and colors, indicates both an aside spoken to the viewer and a thoughtful soliloquy. Desperate pleas for news of the missing girl is printed on the inside covers. An image of Rialto Bridge taken from a souvenir shopping bag is embedded into the front cover. The book is held closed by a ribbon closure.
This broadside was printed by Martha Chiplis for the Bodleian Library's "Shakespeare's Sonnets in 2016." It was printed from photopolymer and wood type on a Vandercook Universal 1 press in Berwyn, Illinois USA. The edition was printed on four different papers, this one on dark blue Japanese paper.
Edition of 36 (8 copies on dark blue Japanese paper; 8 on medium green Japanese paper; 8 on light blue handmade paper, 12 on light green handmade paper )
Out of the Dark/Into the Water
Out of the Dark/Into the Water is an edition of 125 hand-printed and hand-bound artist books about the life and work of Oliver Robert Batsel, an American collector of exotic artifacts and art objects from around the world. Batsel spent his life gathering clothing, documents, jewelry, photographs, and other ephemera related to the Empyreal Trading Company (E.T.C.), a small mercantile enterprise which operated from the 17th through the 19th centuries.
In 2004, after decades of amassing the most complete E.T.C. collection in the world, Batsel lost his life when Hurricane Ivan leveled his beachside Florida home. The house, the collection, and Batsel himself were swept out to sea. Now, over a decade later, Batsel's granddaughter, Hannah, has begun to excavate the sand lot where the house once stood, recovering pieces of Batsel's story and restoring the artifacts to which he dedicated his life.
Out of the Dark/Into the Water is a dos-a-dos book, a historical binding in which two text blocks share a back cover. One half describes Hannah Batsel's memories of and relationship with her often-absent but endlessly fascinating grandfather. The other half takes a closer look at the collection itself and the progress that has been made towards restoring it. The book combines screen, offset, and letterpress printing techniques, and includes 14 original reduction linoleum prints.
Naomi S. Adams
6"H x 8"W x 1"D
“Herbs” is an artist’s book that explores my relationship with food, layered with my experiences as a fiber artist. As I create meals, I am often thinking about not just flavors and taste, but also the visual hues that the natural plant dyes that food and herbs create. The fabric in this book was dyed with the herbs that are the subject of the book and the handmade paper includes the dried herbs as inclusions. The color palette reflects the hues that are attained with these natural plant dyes. This book utilizes letterpress printing, screen printing, and watercolor techniques in the creation of the book form.
A quick flip through an indecisive decision-making process.
"Oh! What a tangled web we weave, when first we practice to deceive" refers to how complicated life becomes when people start lying, and even blindly believing in something. Tangled Web is a statement on religion and truth, and how people often just blindly follow. Growing up Jewish, I was taught the beliefs in our bible, and for the most part believed what I was taught through my religious studies. As I grew older, I began to ask questions and was told simply "That is just the way it is," a very unsatisfying answer to the questions asked. I started to become aware of how many just blindly follow without question, thus a sort of deception, building on beliefs, and often out of date traditions creating that tangled web.
The piece is a Jewish book of prayers. Each page's words were cut from the page and sliced into strips and then reassembled. The first page is simple, but as pages overlay each other the tangle of the web gets deeper and more complicated. The yellow page marker represents a place within the web, could be very close to the surface or buried deep in the book showing a level of truthfulness depending on how deeply it lies.
A double concertina book with a progression of free verse poetry and transformation of imagery. The diverse materials used are derived from associating influences of two locations. Metal covers depict the major influence of industrialization and the different papers represent the technology of today. The accordion tyvek binding is digitally printed, including the signature Kozo-shi paper inserts with contrasting fonts. Mapping is printed on digitally prepared acetate sheets.
The ‘double’ title: Saudade and Longing form a ‘prompt and response’ title in relationship to each other. Memories often form and reemerge in the same manner. The meaning of saudade encompasses the longing to return to a previous reference, often nostalgically significantly through memories elongating a sense of belonging. However, nostalgia and memory are not exacting and remain relative to time and place. Understanding these placeholders: patterns found in land types, distinct weather behaviors, cultures and quieting spaces lends to interpretation, reflection and reemergence. Observing the transition of many cultures, some forced and others by choice to other homelands reinforces the need to find belonging and the resorting of memories to find familiarity.
My daughter and I began walking to school last year. We stopped to observe many things, but it was the milkweed that most captured our attention. With each new day we watched the plant change color and texture, my daughter eagerly waiting for the pods to open. This experience taught us about patience, mystery, and for me, learning to embrace the darkness – the place where ideas are conceived and grow, much like the seeds in the pod.
The Walk is a sculptural artist book that encourages us to pause and reflect. Close-up images of the milkweed pod are coupled with two narratives – one my own, and the other a diary excerpt of 19th century Swiss philosopher Henri-Frederik Amiel. Original monotypes have been reproduced as offset lithographs for this edition with letterpress printing by the artist. The Walk is printed in an edition of twenty-five and housed in a slipcase made by Linda Lembke of Green River Bindery.
This book was completed during an artist residency at Maine Media Workshops + College in Rockport, Maine.
All Done But None
Edition: 20 s/n
Pages: 32 p.
Dimensions: 7 x 11.75 in.
An irresolute, yet humorously spirited Carol Es deals here with indecision while offering true-to-life stories as various options for the book's direction. Pale green hardcover starched linen, stitch bound with slipcover. Although a limited edition each book is original - hand written and hand painted. The illustrations are in watercolor and ink on Fabriano Artistico paper, with end papers handmade from Nepal and letterpressed at artist's press. Each book has an original design (also hand painted) on the 24th page and each contains a copper plate etching, a dry point engraving, and a solar plate print on Rives BFK paper. The edition is hardbound with embossing on spine and cover.
Edition: 8 s/n
Pages: 20 p.
Dimensions: 6 x 9 in.
Based on a poem of the same name dispersed throughout in Letterpress. Includes drawings on black Strathmore Artagain, two handmade flower-pressed papers. two original watercolor and ink paintings, gouache/Sumi-e painting on golden handmade paper from Nepal. One original block print. Two copper plate etchings on Rives BFK. One embroidered drawing. One 5 x 5" Giclée in paper pocket. Three digitally designed pages with archival Epson Ultrachrome K3 inks. Letterpress and digital printing. Japanese stab binding. Cover with hand die-cut house illustration. Slipcased. Cereal box papers used for covers and slipcase.
Houses is is about moving countless times as a child with my dysfunctional family. My parents were always fighting, my mother had mental illness, and with each break-up they had, they bought and sold a house, splitting up my brother and I, but eventually getting back together. Then, the cycle would repeat itself again within a year.
Call a Wrecking Ball to Make a Window, 2012
Call a Wrecking Ball to Make a Window is a map-fold book with original text that explores routes taken and spaces made by queer people in New York City from the 1970s through the 2000s. Drawing links between the lives of gay men in that period and my own coming out into the height of the AIDS epidemic in the early 1990s, the book proposes a fantastic landscape in which these lives overlap through the geography and infrastructure of the city. By following the writings of David Wojnarowicz, the queer writer and artist who died of AIDS in 1992, I trace his moves in and through Manhattan’s grid, attempting to link back to my own queer trajectories, first as a young lesbian, and now as a trans person. The book’s title refers to both to the changing built landscape of New York and to effects produced by the desire to find redemption and instruction through an oversimplification of personal and political histories.
Manhattan is thirteen and a half miles long and, at its widest point, just three miles wide. It can be gotten around by boat in three hours and by foot in less than a day. It is, geographically speaking, a small and navigable place; despite this, it is a monster of a city. It is a good landscape for telling impossible stories.
It Doesn’t Get Any Better Than This, 2nd Edition, 2010
It Doesn’t Get Any Better Than This began as an installation and letterpress printed book with original text and images that tell a story of relationship to family history, national pasts, the artist’s transgender identity, and the liberal discourse on improvement. The book seeks to disrupt and question the trajectory of progress central to the mythology of the United States and to inter-generational desires for getting “better.” In 2010, Booklyn’s Another Booklyn Chapbook (ABC) Series republished It Doesn’t Get Any Better Than This in a second edition with letterpress printed cover and offset printed interior.
Taxonomy of Shapes challenges the reader’s perception of their environment and our current system of classification. The book uses icon-like imagery to represent elements from both natural and man-made environments, in combination with translucent overlays with geometric shapes cut out of them. These cut shapes define the three taxonomies of the circle, square and triangle. Taxonomy of Shapes introduces a new system of classification in which we find that a mountain is in the same category as a nose, a slice of pie and a bunch of grapes.
11" x 15" approx
This broadside was created in collaboration with poet Justin Cox. The imagery was letterpress printed using reduction linoleum and pochoir.
This deluxe edition includes two artist book structures housed in a clamshell box.
This limited edition of 10 is entirely hand bound, sewn and assembled by the artist and includes his illustrations and original story. Visit dwidmer.com/fanny for more information.
Ten-year-old Fanny wakes one wintry morning to find her toy doll stripped naked and shattered in the parlor of Chicago’s famous Glessner house. A fan of Sherlock Holmes, she attempts to solve the “murder” by questioning several well-known architects including Daniel Burnham, Louis Sullivan, Frank Lloyd Wright, and Isaac Scott. This work of historical fiction was inspired by Captain Frances Glessner Lee (1878-1962), a pioneer in modern forensic science and creator of the miniature crime scenes known as the Nutshell Studies of Unexplained Death.
The Glessner House Tunnel Book features outside views of all four sides of the famous Prairie Avenue home designed by Henry Hobson Richardson. The interior view of the Glessner House parlor contains visual clues to the "murder" and is reminiscent of the miniature crime scenes constructed by Frances Glessner Lee.
Fanny and the Doll Corpse tells a story from the point of view of ten year old Fanny. It features a drum leaf binding. The 19 illustrations depict objects from the story with dictionary-like objectivity, appropriate for the shrewd mind of a police detective cataloging evidence.
59 Dreams: A Nocturnal Year is a visual and textual journal of a year of dreaming. Fifty-nine, four-inch diameter "dream drawings", each with an accompanying dream text, fill this 128-page soft cover book, perfect bound with French flaps and soft touch laminate. The 6" x 6" x .625" volume is housed in a hand-made slipcase adorned with an original handprinted silkscreen emblem. Released in June 2016, the edition includes 250 signed and numbered copies and was custom printed and bound for Theodora Press by Lowitz & Sons, Inc., Chicago.
The Awkward Party
5" X 7"
Around 1831, a cache of 78 chessmen was unearthed from a sandbank on the Isle of Lewis in the Outer Hebrides, Scotland. Probably carved of walrus ivory in 12th century Norway, the Lewis Chessmen, who now reside in the British Museum and the National Museum of Scotland, are distinguished by their stunned and incredulous expressions, including "berserkers," warriors with their teeth clamped firmly on their shields.
"The Awkward Party" imagines the Lewis Chessmen in a more informal setting, kicking back in a celebration which quickly gets out of hand. "The Awkward Party" is a hand-sewn book, in an edition of 20, comprised of eight 5" X 7" etchings, printed with Graphic Chemical ink on Arches BFK paper.
In My Country
11 x 8.75" 16 pages
Materials: paper, ink, cover stock, thread
Edition of 15
This book grew out of some earlier work about the immigrant experience. I asked immigrants what they missed about their lives in their native countries and used their replies in combination with prints from photos that I took in urban areas of northern New Jersey and New York City.
Prints were all made on a Risograph machine. Hand sewn binding.
Two gate folds, one at the beginning and one at the end of the book.
Open Range: Mountain Passage
2015, Artist Book: Handmade abaca paper, ink, graphite, transfer print, thread
12in x 5in x 1 in (closed), 12in x 36in (open)
The body that moves with intention through its landscape is “an extension of the terrain that sustains it,” as Andre Lepecki suggests. I discovered my body as an extension of the landscape during a two-month backcountry mountain bike trek along 2000-miles of the Continental Divide Route from Montana to New Mexico. I was inspired to produce a multi-media body of work, titled Open Range; Mountain Passage, which includes a sound piece, manuscript, and an artist book by the same name.
Made with handmade paper pigmented with soil and gold pearlescence pigment, I created a sculptural book that resembles the mountain terrain along my journey. The book has been aged by crumpling and rubbing the handmade paper, and is reminiscent of my body’s journey—worn and forever changed due to the experience. Essayist, Rebecca Solnit acutely writes, “Reading with one’s feet is real in a way reading with one’s eyes alone is not. And sometimes the map is the territory.” The accordion folded book intentionally mimics old maps of parchment, and is a way I could present a non-linear story of the experience using words, locations, and points of topography as texture marked on the handmade paper.
5 x 5
A series of collages and text influenced by Cold War and atomic era nostalgia. The visual elements are created from a variety of propaganda, pinups, advertising ephemera. The text portions string together original writing with historical data and research fragments.
dreams about houses and bees
5 x 6
A series of collages and original poems investigating “house” as both physical location and metaphor for “home”.
A series of original watercolor abstract florals accompanied by collage poems remixing fragments of Sylvia Plath’s ARIEL.
$500 Framed series
They are abstract expressions of letterforms, cropped during the printing process!
Framed, they each are approximately 20x16”
Sara Peak Convery
Words Matter 1
Geotype rub on lettering on paper
Framed size 20" x 20"
Contemplating the notion of escape from boundaries, using old art supplies from college.
Words Matter 2
Geotype rub on lettering on paper
Framed size 22" x 26"
A quote from an earlier tiny (matchbook) book of mine entitled "Familiarity Breeds" and its inverse.
Books and nature are similar. The more time one spends in investigating nature and books the richer the experience.
good, good, good
handmade paper (abaca, linen), pulp imaging, letterpress (pressure printing), wood
My interest lies in examining a sequence of events that repeats—cycles. Melding transparency with overprinted text, this piece captures the fragility of life, breath and limited language. “good, good, good” reveals the few words/statements my grandmother was able to say for the remaining 30 years of her determined life. She survived a massive stroke that left her paralyzed on her right side and afflicted with severe Aphasia, a language disorder that affects the ability to communicate. This book provides a view into the routine complexity of daily life, transforming a mixture of real and surreal memories into a translucent container filled with childhood remembrance.
Bullying: with a Capital A
handmade paper (abaca), hand-stitching, letterpress (wood type)
Edition of five
The Harrison High School Walkouts of 1968: Revisiting the Past to Inform the Present
Wooden box containing facsimile materials, including a yearbook with fold-out insert, a diploma, 3 newspaper excerpts, 2 flyers, 1 composition notebook, 1 plastic pin, a strip of 4 tickets, 4 identification cards, 1 poster, 3 library cards with bibliographical information, and 1 letter. Production for the material was done using ink jet, laser, letterpress, relief, and screen printing.
Text in English and Spanish.
An artist book that takes an archival form based on historical events in Chicago’s Pilsen neighborhood in the late 1960s and early 70s. The book draws inspiration from personal interviews and graphic campaigns that shed light on student responses to the pressures of assimilation and acculturation, dealing with the stresses of maintaining social and cultural representation in education. It is the concentration of collectivity, community, and historical documents that give the book its social qualities and increases its political possibilities.
Particle/Wave is a two-part memoir comic about family, identity, grief and the moon. Each short comic progresses to a shared center spread; the book can then be flipped around to read the other direction.
The Day I Met George is my story about one morning in the studio, the chance meeting of two strangers, and the inescapable intrusion of a fundamental truth into events. I’ve embedded this dark drama in a flip book. This delightful form is typically a vehicle for humorous content. In combination with my short story, this flip-animation takes on an ominous inevitability.
A few words by Erno Rubik--inventor of that puzzling cube—adorn a Victorian puzzle purse. This simple structure can function as an envelope, and historically held Valentine messages. The text is letterpress printed with handset metal and wood type.
Signed, numbered edition of 70 on varying colored paper $15.
signed and numbered edition of 5 copies
digital inkjet prints on Lasal Matte paper
book is enclosed in a clamshell box
7.625 x 4.25 x 1.125 inches (extends to 6.25 feet)
neodymium magnets for closure
Traverse is a documentation on the artist’s annual trip across the country to her home town of Gatineau, Québec, Canada. The artist photographs what catches her eye along the 7 day journey. Levergneux captures the climate, the topography and the state welcome signs to seize the moment of her passing through time. The text that accompanies these moments are a play on the state slogans or state nicknames.
A Dozen Deaths
This is a handmade artists book in an edition of 5. The cover is silkscreened ink on book cloth, the interior pages are a combination of inkjet printing on bamboo paper, acrylic painting on bamboo paper, and laserjet printing on grey archival paper. The stories enclosed are related to the events of February 26, 2012 when Trayvon Martin was killed by George Zimmerman. The narratives are a meditation of sorts, into the kind of people we are together and how we see others.
How to keep from growing old
This is a silkscreened poster highlighting tips lifted from the pages of the Negro Motorist Green Book, a guide that was published during the Jim Crow era to aid black Americans in their travel plans. These particular suggestions are tongue-in-cheek artifacts from the height of 1950's automobile culture.
8 ft wide x 6 ft tall x 3 in deep (approx.)
Paper, wire, glue
The materials influenced the words in this piece. I chose parade float materials to capture a showy, oversized feel I wanted to express, and hand lettered the words Flaunt it.
One Is the Holiest Number #2
Edition of 25
One Is the Holiest Number #2 is a meditation on the different states of being one. At one extreme, we feel isolated and alone. At the other, we feel at one with everyone and everything. Mostly we live in between, shifting in an instant at times, and at others at a painfully slow pace. Although illusion tries to persuade us otherwise, we are always One. Edition size of 25. Letterpress, relief, and intaglio.
This book received the 2016 Minnesota Book Artist Award.
A Hand Woven Life
Fibers, canvas, knitting needles
Scrolled : 16’ X 5” X 3”
Open : 36” X 14
A Hand Woven Life is a scroll made of diverse fibers and canvas to dispel the notions that a book consists of paper and linear reading. The artist’s poem, obscured, is woven into the fibers to add to the mass of confusion that represents the lives of women today.
Words Matter - Libraries Matter
First remembrance of a library: the Rogers Park Public Library, at 6911 N. Clark Street, Chicago. For years it was home away from home. Its tidy adherence to the Dewey Decimal System gave one false assurance that all knowledge could be approached systematically if not always gained, but also gave hope for a bright and curious future. Access/No Access highlights the tensions inherent in urban and technological change, where public libraries (long the bastion of free speech and getting 'a leg up' in life) are in danger of disappearing. The Dos-à-dos double flag book interior structure highlights some of these tensions.
Materials: plexiglass; binders' board; plastic binding coils; inkjet prints on Canson, index, and text-weight papers
names name no lasting name
16 1/4" x 13"
calligraphy, sumi ink with gold, inkjet prints
names name no lasting name is a one-of-a-kind artist's book exploring the Taoist idea of the slipperiness of language that informs a lot of my work. Each spread features a word in large brush calligraphy on the verso page, which I've burned away with an incense stick. The recto of each spread is a thick sumi ink wash, with flecks of gold ink hand painted to fill in the white gaps in the brush strokes. Each page also features a hidden printed image, nested inside the french-folded paper.
The theme of the inadequacy of language and its willful misuse seems to be even more vital during the course of the current US presidential campaign, not to mention public conversation about other crises. To get a randomized cross section of words that are in the air today, I selected the word for each page by taking the first noun from a sequence of reader comments on the New York Times website. I created the hidden prints by doing a Google image search on each of the words, downloading the first result, and digitally manipulating it into a new image and print. Parts of the prints show through on each page where the words have been burned away.
heart sutra remix (cassette edition)
3" x 4" (24" x 4" when open)
edition of 75
heart sutra, remix is a handmade, accordion-fold artist's book inspired by one of the central texts of Mahayana Buddhism. It features digital collage and a poem in brush calligraphy. Each copy is inkjet printed, finished with unique burns through the pages, allowing it to fit snugly into a reused cassette case.
I composed the text of heart sutra, remix almost 20 years ago as an oral poem when I was first learning about the Heart Sutra. For this edition, I performed the calligraphy for each page spread ten times. After finishing the calligraphy, I scanned my favorite version of each page spread and used it as the basis for the digital collages printed in this book.
This project isn't meant to be a commentary or an expansion on the Heart Sutra, but rather an homage, an example of the long history of chanting and copying it in calligraphy as a devotional act.
Doctor Mister Miracles’s Vocabulary Guide for the Perplexed Miraclis
4” x 6”
hidden side sewing
ed. of 100
Doctor Mister Miracles’s Vocabulary Guide for the Perplexed Miraclistis a book-long riff on a line from the Tao Te Ching: Names can name no lasting name. As a sometime Taoist and an all-the-time verbalist, I can’t stop thinking about that line.
The book's subtitle isA Glossary of Seventeen Terms Compiled to Vivify Your Miracle Practice. At first it seems straightforward. Real-world sacred terms (caritas, paramita) mingle with new words to describe ideas that could benefit the world (“humilitocracy”). But as the book goes on, the system breaks down — terms grow more opaque, words are burned away on the page, and disturbing images start to invade.
What looks like a stack of smudged index cards rubber-banded together is actually a painstakingly printed, hand-bound book, its sacred aspirations muddied by the inability of words to name a lasting name.
Susan Kapuscinski Gaylord
3”H x 9”W x .25”D
Book that is a rectangle when closed and opens to form a fan. The front of each page has a quote from a woman author and the back has her name. Written with DR. P.H. Martin’s bleedproof white on handmade paper from India
handmade cotton fiber paper from India, lettering with Dr. P.H. Martin’s bleedproof white ink, buttons, wire
In the Wake of the Dream
Transversing the space between sleeping and waking, these narratives are five consecutive dreams from one night, March 31, 2014, that have been revisited and revised in waking life. They have been shaped into stories (transverses) touching on imagination, loss, relationships, and acceptance. A slipcase holds a hardcover portfolio made from discarded book covers that have been remade and given a new form. Inside is a slot and tab book letterpress printed from metal type and linoleum cuts in gold, salmon, blue, cream, and white on muslin cloth reminiscent of bedsheets. Each combined dream/fiction is printed in blue with the revised waking words trailing in gold. Three linoleum cuts are printed on Stonehenge (a ship, diagram of a wake, and a sleeping body) as separate prints and held in a handmade kitakata envelope printed with a poem called "transverses.”
Sizes and colors vary: 5 1/2"w x 8 1/2 - 9 3/4"h (mixed colors with front cover choices of: black, dark blue, red, dark green, gray, white, process blue, brown)
Materials: Arches cover, repurposed book covers, muslin, Stonehenge, Velin Arches, kitakata, Japanese book cloth spines, letterpress from Caslon Oldstyle 471 type, linoleum cuts
Edition: 30 copies
I Found Out
Overlooked and overheard people and things are the subject of this palm-sized box that contains a miniature accordion folded snake book. Overheard conversations are letterpress printed in black from handset Univers type on the outside of the paper box, and the words "I Found Out" are printed yellow in wood type. The inside of the box is painted pearlescent gold. The miniature book has inkjet printed photographs of objects I found out on my walks with a short poem about shyness and people taken for granted also printed via letterpress in yellow ink. The covers are mix-and-match in thirteen combinations, boards wrapped in book cloth I found in my studio from other projects; a penny is inset in the cover of each.
S.W.A.M.P. contains 4 stanzas, but, through the act of separation comes a distillation of concept, and so the words were broken apart into their sound components, re-arranged, and coerced into a compartmentalized palimpsest of language and utterance. This book’s structure is a set of 3x3 grids: one running horizontally, and one running vertically. First, the words, then, the words intoxicated, then, an outline of the two stanzas, capturing the words as a group of objects that take form on the page. The stanza images move across the individual spreads, transitioning from left to right, following the movement of the stanzas. The baseline images are laser-engraved where the folios meet one another, countering the horizontal tendencies of the book with an investigation of ascension. Each new layer or interpretation of the inked impressions, equals 6 attempts at reconciliation, and these pages house the metamorphosis of text/words into sounds and imagery. S.W.A.M.P. is a difficult or troublesome situation, also, the landscape in which this can occur, and so how does one approach such unstable ground?
Cautiously and never the same way twice.
Handset in metal type (Tower), letterpress printed, and bound by AB Gorham at Small Craft Advisory Press in Tallahassee, FL 2015. Printed on Somerset text, covered in Cave Paper, and housed in a two-flap enclosure. The text for this book was printed at Penland School of Crafts in summer 2014 while assisting Steve Miller’s letterpress class, using Penland's metal type Tower. The book was then finished at Small Craft Advisory Press, using a Vandercook 15-21, Vandercook Universal 1, and Epilog Laser Engraver.
Desire to Disintegrate with Dignity
6 x 6” folded, freestanding accordion book with 4 panels.
Printed letterpress both sides on black arches from monotype and photo polymer plates.
This book was inspired by research on natural burial practices after preparing a living will. It is meaningful to consider the environmental aspects of dealing with our remains and for each one of us to take responsibility for our footprint in life and in death. I decided to share the different possibilities that I discovered, hopefully creating a starting place for the conversation.
Her Life As I Knew It
accordion book, letterpress, lino cuts
24”l, 9 1/2”h x 3/8”d
edition of 60
For Thirty of Twelve
2” x 8”
edition of 50
A pantone book using the numerical values gotten from the weather indices for the month of April for 2012.
The numbers for barometric pressure - C, temperature -M, humidity-Y and wind speed-K were entered in as CMYK - which generated the colors which appear. Throughout the month I wrote a word or sentence describing my internal weather for each day, so each entry has both internal and external weather.
This work is part of the SP Weather Station project.
Rise and Shine
Every twenty fours hours, we get another chance to start anew. Multicolor letterpress print. Linoleum cuts, wood ornament and wood type were [directly] used to print this piece; a wood cut (a rooster) was swiped with mineral spirits and pressed upon the pre-inked linoleum block, and that both shifted and removed enough ink on the linoleum block to create a 'negative' of the wood cut print on the paper.
26 Plus 1
The journey is the destination. An alphabet book illustrated with images collected along the artist’s path, accompanied by text written in 2013 that celebrates the letters and words that are all over the map, typeset by hand to carry through that play with location and language in the final piece.
A Good Word
The materials and medium of letterpress printing with wood type inform the content of this two-sided print, along with some of the reasons I so enjoy it: Making work that speaks to both friends and strangers and testing the limits of the process.
Camille Claudel in Bardo
Japanese Stab Binding on Chiyogami paper covers. Graphite, India Ink, Canson Mi-Teintes, Hand Photo Transfers, and Art Nouveau Calligraphy influenced by Maurice Dufrene. Olympia typewriter, 30 pages. Poems by Clarissa. Size 8.75 x 6.6" opens to 15.5". First artist book in a series of three originals dedicated to the artist, Camille Claudel. $875
While visiting Paris for nine-weeks, I was drawn to the Rodin Museum where Camille's sculptures inspired a fresh analysis of her life, resulting in the creation of this artist book.
Her sculptures thread 19th century Parisian society to our own understanding of love and life. Because of societal gender restrictions, being a female artist was difficult in the late 1800's. In addition, Camille 17, was Rodin's, 42, student, model, eventual lover, and collaborator. After ten-years, she broke away and attempted to build her own name. Rodin never deserted the first mistress, Rose Beuret, and married her one-week before her death. When I last visited the Rodin Museum, Beuret's portrait hung in the Claudel room, her ever present eyes on watch.
Perhaps Camille's spirit roams Hotel Biron's Gardens in Bardo, seeking peace and justice. Perhaps her letters written in forced asylum will be found and her bones will find eternal rest.
Palm Leaf Style Binding, Mixed Media, Hand Image Transfers, Original Art and Poetry, Cotton Tassel, Crocheted Loop. Size 8 x 1.75" closed, extends to 17.5". Includes box, $375.
This second artist book in a trilogy is dedicated to Camille Claudel. The Palm leaf binding originated in India, as does the legend of Sakountala, an Indian maiden who fell in love with a visiting prince. After their marriage, he returns to the castle alone. Years pass, suddenly
the prince remembers his vows, and they embrace, as in Camille's sculpture, Sakountala, 1885. Rodin broke his marriage promises to Camille. When her father died, Camille's mother and brother institutionalized her until her death, thirty-years later.
Flip my artist book and find poems as well as Rodin's sculpture, The Thought, 1895, from the D'Orsay Museum. The limited colors of the image transfers deepens the somber message that life examined through intense relationships and broken promises may cause intense joy and sorrow.
My Lithuania_Land of Myth, Amber, and Hope
Japanese Stab Binding, Mixed Media, Hand Image Transfers, India Ink, Graphite, Color Pencils, and String. Size 5.3" x 5.7". $800
Hang precious nuggets from closet rods,
toss them into a roaring fire, and
carefully collect ancient benedictions.
My art and poems honor ancestral ashes and their process of navigating life and death as organic and creative movements. I nurture the past while savoring a ripe Ohio peach, juicy for the plucking. I invite you to sit at my table with the Baltic gods: Perkunas (God of Thunder), Vacarinė (Earth Mother), andMedeine (Lady of Trees). I frolic with oak leaves and bask in the moonlight feeding my vision as the life cycle begins again. Vacarinė, resides in the fiber of my being.
I was the first in my family to marry a non-Lithuanian. Born in Germany at the end of World War II, I have never visited the mother country. This humble book offering reclaims My Lithuania, creating it awakened a national love of amber from a deep slumber and sates an inner longing. Recently, I realized that Cape Cod dunes remind of the Baltic shores, filled with scrub pines, sacred oaks, and birch trees. Allow these image transfers and poems to transport your interior and mingle with unexpected feelings. Let this book be a guide.
Join me in this timeless act of discovery and shower the ancient gods with your requests. May loving gifts eradicate sorrow. Hang amber nuggets from closet rods or allow them to warm your neck with a healing energy. Brace for sweetness. Enjoy!
Punctuated Weaving is a suite of five letterpress prints by Alexandra Janezic. Inspired by the process of weaving, each print is composed of individual lines of punctuation repeatedly printed to create a woven textual piece. Each line of type in the series was printed using hand-set metal type impressed into Somerset Satin paper. The suite of prints is accompanied by a letterpress printed title page and epigraph by Robert Lax, housed in a clamshell box handmade by the artist. There are twenty-five copies in the edition.
Punctuated Weaving looks to imbue letterpress printing with a meditative property, to make a ‘drawing’ of the physical time spent printing. Static lines of metal type are constructed to create images imitating the irregularities of fabric. The prints serve as a timeline of the artist’s decisions and movements, emphasizing the repetition involved in creating a series of multiples.