I’ve been working on these two books simultaneously. They are part of the Lovely and Amazing series of works inspired by and created from an archive I inherited from Ruth Wheeler, who was my great-aunt. Both completed in 2010, they have been exhibited at Bookopolis in Asheville, NC and in at Vivo Contemporary in Santa Fe, New Mexico.
The covers were begun in a workshop held at my studio in 2008, taught by Boston artist Peter Madden. That workshop was held only a few days after my mother died; Peter’s mother had died only weeks before. We both decided to go ahead with the workshop but I confess here that I remember little of the workshop, the creation of these wood panels or what my intention was. I think I was just working to be working. Shelved for a time, I then created some triptych wall pieces that ultimately I deemed unsuccessful when nearly complete. Once again, shelved for a time. I mention all this because it addresses one of my theories about an ingredient in mixed media construction that I believe adds to their richness in an essential albeit non-visual way. The best I can do to explain this is that a construction made from ‘store bought’ materials (i.e. materials without a previous, rich history), even though in composition, arrangement and general selection of objects may exactly mimic, for example, a Joseph Cornell construction, it cannot speak in the same way, isn’t imbued with the richness that history gives to objects.
These panels, although constructed from newly milled pieces of birch plywood, have a short history but in that time have been altered and handled repeatedly. Many of the objects now embedded in or attached to their surfaces come from an old archive. The process of shelving and continuing work at a later date adds to these final pieces in way impossible to achieve otherwise.
Both books are coptic bound with rigid pages but they were constructed differently from one another.
The first I completed is Someone Like You. This book takes as its title a handwritten poem transcribed in Ruth’s journal:
Someone like you makes the heart seem the lighter Someone like you makes the day’s work worthwhile Someone like you makes the sunshine the brighter Someone like you makes a sigh half a smile
This text appears split in two on the inner front and back covers in a scan of Ruth’s original handwriting and is then repeated on individual pages throughout the book.
The pages are each made of a layering of photographs (scanned and reproduced via inkjet) taken by Ruth on her camping and picnicking outings with her Camp Fire Girl troops over a span of many years. Also included are pages from her teaching notebooks detailing nature games, pages from her biology notebooks with sketches of specimens and plates from her nature books.
Each page is constructed by treating the front and back as separate pages that are hinged with book cloth around a thin metal rod. So, although the pages are rigid, they can be stitched without the cord intruding on the page surface as the metal rod holds the thread in place, as the fold in a signature book would do.
These pages are rather inelegantly bound with linen cords, the front and back covers have round recessed areas that for a title label (front cover) and image (back cover) with brass pins holding the labels in place. In order to prevent the weight of the book resting on these pins when the book is lying flat, I also added pins and brass beads to each corner. These double as a mechanical means to hold the larger mica pieces on the cover.
The covers were drilled halfway through outside to inside after the mica is in place, those holes met with secondary holes drilled in from the spine edge. This allows the thick cord to wrap around the outside of the cover but not be inside of the cover. The book closes without the additional bulk the cord would create on the inside.
Education of Girls takes its title from a teaching pamphlet Ruth used. As the junior high biology teacher, Ruth’s job included teaching sex education and this pamphlet was from a multi-piece set of she used.
In addition to scans and print outs from her teaching notebooks, the pages include small bones/feathers/seeds/plants and film positives recessed into the pages and scans of artifacts too bulky to be included in the book (such as taxidermied songbirds).
The pages of this book were constructed with a museum board core, the text and images built up on each side. The thickness of the rigid pages meant I could embed the objects mentioned above and could use the more intrusive rigid page binding technique as described in Keith Smith’s book Sewing Single Sheets. This technique also doesn’t require each page be of uniform thickness.
So on two of the pages strips of film positive were sewn into the pages in a way that makes the positives visible from both sides. Those pages were then wrapped with handprinted book cloth on the edges to both protect the positives, hold the protective layer and add enough material to the pages to hold the intrusive coptic thread in place.
The text is primarily transcriptions for audio recordings I made of conversations I had with Ruth during her 97th year about some of her teaching accomplishments and adventures. Also included are pages from the original Education of Girls pamphlet, and a photograph of Ruth’s mother and aunt, with whom she travelled to Columbia College in 1928 so Ruth could take a summer course in sex education.
Both the front and back covers have mica recessed over paper artifacts. This recessing of the mica meant I could avoid having pins protrude from the covers. Each cover also has a hold drilled entirely through it. These cavities hold artifacts (one shell each front and back) suspended between layers of mica.
I wanted Education of Girls to be more elegant than Someone Like You so I bound it with much thinner cord, 4-ply waxed cord.
In this case I did wrap the cord through to the inside, which makes the cover hold tighter to the text block and not be quite so floppy.