The Art of Handmade Artist Books – Part Two

"Each friend represents a world in us,
a world possibly not born until they arrive,
and it is only by this meeting that a new world is born."

- Anais Nin


My friend Rita and I began an exchange of art on a monthly basis several years ago. We create art and exchange it, along with a letter of thoughts and happenings, poetry and quotes, and inclusions of interest. Each exchange becomes a page in on-going volumes of hand bound books. In the autumn of the year we also exchange a hand-made artist book. The editions are of two – one to keep and one to give. The world created by our exchange has enriched and expanded my life. There is an invisible path worn down between my mail box in the West and hers near the Great Lakes. Although we have never met face to face, we are the best of friends.





This year the book theme was completely open. I made my books from the papers I create when transferring paint on and off of paintings. Although at the beginning the transfers are created from totally random marks and shapes, once the paper begins to appear interesting I am more selective, and tend to the final stages with deliberate action. The Zen like quality of the marks, the quiet colors and peacefulness of the tissue pages on print making paper appeal to me. I look inward to find what will become my art. This book celebrates the new sense of freedom and authenticity I am experiencing in my work. The quietness allows me to hear my own heartbeat. I am trying to think less, and work more in tandem with the art that appears. These books have allowed me to experiment, and to push the quiet even further.



The title of my book is Stillness. I love stillness. I often work in the studio in outward silence, although I am always responding to what is happening on the surface in front of me, listening for what the work has to say. For me, stillness is about clarity, focus and purpose. It is a place from which I can create. In a bit of artistic license, I attached a very small Japanese bell to the outside of each book – a tiny single note of sound calling attention to the Stillness I suppose.



The technical parts of the books are a side stab binding of the soft pages made of tissue, BFK Rives print making paper, and a Japanese paper. The housing is a removable portfolio cover made of mat board, a commercial black paper and more tissue paper. The closure is a black cord with knots and bell.





Stillness is where creativity and solutions to problems are found.
Stillness Speaks.

Echart Tolle

The Art of Handmade Artist Books

Contemporary bookmaking is a wide and varied art form, and one that includes beautiful craftsmanship, artistic vision, playfulness, a message, sometimes sculpture, and always compels me to want to pick the books up and turn the pages – that is, if the book actually has pages.

I have started a list of book artist sites in the sidebar. When you visit Jody Alexander be sure to click on the link called process – it’s a fun one! Lisa Kokin makes several types of books and has an intriguing website. Robbin Ami Silverberg also runs a handmade paper mill as well as making books. Artist Shanna Leino makes artist’s book making tools by hand which are available for purchase. What a great stocking stuffer that would be! Susan Kapuscinski Gaylord has been a favorite book artist of mine for years. I especially love her series called Spirit Books. Dorothy Simpson Krause is an artist and author I have spoken of previously and has recently written a book called Book + Art Handcrafting Artists Books. Susan Collard makes books which are “architectural” and fantastic constructions. Finally on the list is the Donna Seager Gallery which features many book artists. You can see quite a selection at this site. I’ll be adding more artists to the list over time.

Each autumn I have been exchanging an artist book with an artist friend, Rita J. McNamara. Our exchange is a highlight of the year for me. First, I have a reason to stop and spend time on the concept of my own book, in an edition of two, and then I enjoy the fun of gathering my material and making the books. Although I find bookmaking to be time consuming it is a satisfying and exploratory process. Then as I package my book to ship off to Rita, I can also anticipate the fun of opening a package from her, and seeing her creation which I add to my own collection. Rita is a collage artist, a mail artist, a former weaver, and a published author, as well as a great and dear friend.

This year I am sharing our exchange with you. Following are photos of the book I received from Rita, entitled Oddments and Bagatelles. The words that follow are hers, and explain the concept of her book this year. Closed, her book measures 6.5 by 5.75 inches, and contains 10 pages, with multiple pockets, tags, and a popup page in the center. In a later post, I’ll share my book. Rita is off line, but she reads this blog on a regular basis and I know she will stop by and read your comments.




We started the Thanksgiving Book Exchange to celebrate our favorite time of year. The time when colors fade and the world strips down to its essentialness, its bones. The autumn book always feels like a distillation to me. Last year’s exchange was a Walkbook, fashioned from bits picked up along the way: feathers, ferns, twigs, a dragonfly’s wing.



This year, though, the distillation felt different. My year seemed full of jagged edges, dueling problems and conflicts, growing exhaustion. And all this played out against the larger backdrop of a long brutal winter and my ruined state, a landscape of shuttered factories and businesses, abandoned homes, and thousands of families packing up and hitting the road for some other promised land. I felt shell-shocked. Some days out in the studio I just sat there, trying to remember what I was doing and why.

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As leaves fell and days shortened, I couldn’t think of a theme for the autumn book. I couldn’t find the gate, the way in. My brain felt like a bomb site, shrapnel thoughts sifting down through the rubble. So I started there, with the chaos. I picked through the scrap box, shreds left over from other projects. I suspended judgment and tried to trust that some deeper wordless part of me knew what I was up to, what I wanted to say.



The result looked like something salvaged from a storm, picked from thorny bushes after a twister or a flood: bits of maps, old photos and stained beat up letters, fragment words like “passage” and “place” “itinerary” and “foundling,” a compass made from a labyrinth and an old watch part, a sketch showing the anatomy of bird wings, freight tags, scraps of lace.




And in the middle, the only colored page, a bright blue fold-out map of the streets of Paris. Afterwards, as I flipped through the pages, I got the message: I was lost, looking for the route, the way out, the escape hatch.




And at the center, that map of Paris. Not “real” Paris; Paris-in-my-mind. Paris-in-my-mind has nothing to do with “real” Paris. Paris-in-my-mind is an archetype, a Shambhala. In the Paris-in-my-mind there is time for everything and in late afternoon, the in-between, there is a particular peculiar violet light, la vie en mauve, and you stop for a minute, setting down the pencil or the coffee cup. You think you smell flowers, and just for the flash of a second you feel like you can really see. The life under life, all that lies between and beyond the layers of things. It glistens there like a fresh-caught fish. Rita J. McNamara

The Pirates Code: A Tale of the Red Crayon

Mark Making Experiments

Pirates of the Caribbean: The Curse of the Black Pearl

Dialog:

Elizabeth: Wait! You have to take me to shore. According to the Code of the Order of the Brethren...

Captain Barbossa : First, your return to shore was not part of our negotiations nor our agreement so I must do nothing. And secondly, you must be a pirate for the pirate's code to apply and you're not. And thirdly, the code is more what you'd call "guidelines" than actual rules.

This dialog from the movie has always stuck with me. Pirates have some short comings, certainly, but the attitude that the Pirates Code “is more what you’d call guidelines” is fabulous!


The scene: 2nd grade classroom

Teacher, smile on her face: “Class you have an assignment…”

Me: Hey, we had been given an art assignment! How fun! We had choices of what to draw and color! Much better than math, or one of those other subjects. So I made a choice to draw my church. I drew the building and the small town streets around it. And I colored the streets red. Yes red. Because I wanted to and I liked it! I liked my red crayon.

Teacher, stern look on her face: Class – I’m terribly disappointed. Your work is all wrong! And I wanted to hang it proudly in the hall for Parents Night. It would make me look like a Good Teacher. And you have not done what I envisioned. So now you will do it over.

Teacher, passing back the student’s work: Leslie, you know roads aren’t red. I want you to do this over again and do it right!

So, glad to have yet another opportunity to create art, I side stepped the issue. I changed my drawing and found another great subject. I carefully drew a family of deer, brown beings in the green woods. The Daddy deer had a massive set of antlers. The Mommy deer was beautiful with her shinny black hooves, and her smart black crayon outlined form. And the baby had as many spots as I could possibly fit in. And I had done two drawings and I liked both of them.

And the deer family drawing was hung on the bulletin board for Parents Night. Because I followed the rules.

There are so, so many rules developed about art – design principals, design elements, rules of particular artistic societies, rules about what you can and can not use, rules about framing, archiving, you name it- there is a rule about it! And you know what all those rules are about? They are about thinking about your art.

I want to Express myself through art. I want my art to be an expression that includes my Soul. I want to be as Authentic as I can be and I want to feel I am giving my all. Art is a dialog and a dance, a poem and a symphony – and I am only part of the conversation. The Work has a Voice and the Viewer has a Voice.

A perfectly executed set of applied rules does not interest me. Coloring within the lines earns a smile from the teacher, but it is boring! The soulfulness of the expression is what grabs me.

Do I think it’s helpful to know the guidelines – yes! Do I think it’s helpful to be a slave to them? No! The rules can get in your way, and cause paralysis. I think more art is stymied by fear and internalized judgment than any other block! Be brave – break a rule, or not. It’s your choice. Its only ART!

And of course that is why there are so many encouraging words, quotes, and teachers out there. Because there are so many lovers of rules, so many ready to offer a judgment – from their head, not their soul. Side step them, summersault away, but get out from under all that.

Know that you already know the rules. Know your soul knows what to do. And just get in there and find your flow. Make art. See what happens.



You are only given a little spark of madness. You mustn’t loose it.

Robin Williams

Atelier Robyn Gordon!

Robyn Gordon is a wood carving artist and enthusiastic creative explorer who creates totems and panels and writes the blog Art Propelled. Robyn’s blog is rich and diverse. She features her own carvings reflecting her love of nature and the land of South Africa where she lives. Robyn also blogs about the creative process and her influences. As well, she introduces her readers to art work of other artists she discovers. Robyn’s blog is like a fabulous university course in art appreciation focused on contemporary art in many mediums. Robyn graciously agreed to be interviewed for this post of Textures Shapes and Color.



When and how did you first know you were an artist?

My earliest memory is of my mom teaching me to make a crazy patchwork "quilt" with her dressmaking scraps. I was almost 3 and the woman next door was expecting a baby and this was to be my gift to the new baby. It was the most wondrous feeling handing over this rudimentary piece of patchwork which I had stitched from the scraps on the sewing room floor.




What sustains your artistic practice? What activity renews you and your art practice so you return to your work with renewed enthusiasm?

At the top of my list, being out in nature renews me for everything in life. Spending 3 or 4 days near the ocean or walking in the mountains, exploring forests and streams will replenish me for months on end. Even sitting in my garden listening to the sighing of the stream will energize me. Books, especially art books have always inspired me and renewed my enthusiasm and now the internet is boosting my enthusiasm too.... though I really do have to find the balance. Too much time spent on the internet can drain one of every ounce of energy.




What is it about your medium of wood that calls your name?

I often think of this and can't quite put my finger on it. As a child on the farm I loved the outdoors. I loved to touch and feel nature in my hands. The smoothness of acorns and pebbles, the roughness of bark, the hollowness of a birds nest, the graininess of river sand.....anything tactile under my hands. When I was allowed to use my mom’s carving chisels at a young age I found that I could create many tactile qualities in the wood myself. Magic!




And what is this about your Mom carving? What did she make?

Nothing! Poor Mom hated carving. Tried it once and put the chisels aside ... and there they were winking at me.

Robyn, did you go to art school, or are you self taught?

I'm self taught.... a process of trial and error.




If you could visit and learn at the studio of one artist, past or present, who would it be and why?

Cecil Skotnes, because he was the first sculptor I admired. He is one of the reasons my wood carving turned into a passion.

Is there one art book you would recommend to other artists?

At the risk of repeating myself over and over, I always recommend 12 Secrets of Highly Creative Women by Gail McMeekin.






What story are you telling with your art?

I suppose I am telling the story of my life in South Africa. The niche carvings hold objects that are of the land (pebbles, bones, cowries, driftwood etc.), symbols of Africa (beadwork, arrowheads, tiny stone carvings), symbols of my British ancestry (silver teaspoons, Minton china shards). The totems "speak" of the legends that have been passed down from one generation to the next. The patterns, objects, symbols are all of this land. No matter what tribe we belong to we who were born in this country belong here and make South Africa what it is.

How has blogging helped you grow as an artist?

Blogging has been like an epiphany! It feeds my art and my art feeds my blogging. It has opened my world and suddenly I know that hundreds, thousands.... millions of artists go through all the emotions that I do. The anxieties, insecurities, challenges, transitions, blocks, issues, moodlings ...... and the euphoria. It's comforting to know that I'm normal ....relatively speaking.





Thank you Robyn! If you would like to see more of Robyn’s work, images are at her photo stream here on Flicker. And if you enjoy the art work she “curates” for her blog, you might enjoy her Flicker Favorites here.

Mark Making in the Studio

I had several ideas but the only one that felt exciting was to make marks, so marks I made! I did marks with different tools, different colors and in a different style. No goal in mind, no judgment, just experimentation with marks. I don’t know yet how I will incorporate these marks in my work, but I am excited to continue the experiment. I can’t say for sure why marks call my name so loudly, but they do. So I answer the call. I know I like the suggestion of mystery, the idea of communication and the rhythm my hand enjoys while I am marking. I work quickly and intuitively.




I have been reading about artist Fred Otnes. He is a featured artist in the book Art Revolution, by Lisa L. Cyr. He also has a book of his own, which you can preview here.
In Lisa’s book he is quoted as saying “It’s important to remain curious and try as much as you can, just to see where it can take you. The more you do, the more you learn and the better you become. I have always felt, even now, that I’m on the edge of something new.”

His work is full of small details, layers and is highly textured. You can see more of his work here. His book is on my short list of Art Books I Most Want to Receive in the upcoming holiday season. To me the holiday is best in the afternoon, when things quiet down and I can go off and spend time with my new art book…..





I don't think it's necessary for artists to have any formal training in painting or art history, but I do think it's essential to continually experiment with different subject matter, types of paint and methods of painting. Ron Parker



You will have to experiment and try things out for yourself and you will not be sure of what you are doing. That's all right, you are feeling your way into the thing. Emily Carr