Posted on Leave a comment

Hair 2001

hair 2001.2hair 2001.4

 

 

 

 

 

 

 

 

 

 

 

 

 

A couple weeks ago I got my hair cut at a small salon in Grand County, Colorado.  On impulse i asked the owner if she would save me the hair clippings for a few days, which she did. So I thought I’d make a book called Grand Hair. Instead I made a book called Hair 2001.


Materials: Hair, obviously. Laseretched plexiglass, waxed Cocobolo wood, linen twine, copper foil, mica. Leftover shapes of copper leaf:

Burning_Me_Open_edition_0005


the last edition book, Burning Me Open, uses shapes of copper leaf applied with PMA to plexiglass. I mis-calculated and for every book an extra shape was cut out. I saved those extra shapes – eighteen 3×1 inch shapes of copper leaf all ready to put into a plexiglass page sandwich. Now what . . .

Mia Semingson Memorabilia

I decided to combine these two elements, copper foil & hair. Why? Copper is so beautiful and easy to work with. Hair is so creepy but tantalizing. A couple of years ago I saw a piece by Mia Semingson called Memorabilia” –  a fixed lid of clear plexiglass covers a box stuffed with her own hair; the box then case bound into a cover, the sides of the box covered with suede. This book of mine is quite different, but the thing Mia’s work inspired is the creation of a queasy feeling that comes with handling a box of human hair, even when the actual tactile experience is that of touching a very different feeling material – plexiglass.  So it is the thought of touching all that hair that is disturbing. On a strictly visual level, the hair in Memorobilia, made of countless layers of rich protein strands, is interesting and worthy of lengthy appaisal. In short, I appreciate both the visual effect and the queasy feeling interacting with her books creates.

 

hair 2001.5

 

 

The method of assembly and binding  I used with the Burning Me Open is a good fit. Using the PMA that is on the copper leaf to hold each of 2 plexiglass pieces together. Pictured right the foil is affixed to one side of the plexiglass. Bits of hair were put onto that surface, the release paper pulled off and the other piece of plexi placed on top. The edges are then taped together with copper foil.

 

hair 2001.1

I have had this silly book –  The History of Hair . . . An Illustrated Review of Hair Fashions for Men Throughout the Ages –  for many years. Published in 1960 it includes a chapter called Look Into My Crystal Ball (The Twentieth Century). The text for my book Hair 2001, is taken directly from that chapter.

Hair 2001.8

 

 

 

 

 

 

Here are some predictions (paraphrased), the authors made for the year 2001:

According to Coiffure Masculine, by 2001 75% of the male population will be wearing wigs.

Not, however, to conceal baldness, but as fashion accessories.

These wigs will not be a camouflage for natural hair.

On the contrary, they will be worn with great personal pride.

Wigs for different occasions will appear on the fashion scene

Wigs for work. Wigs for dancing. Wigs for dress.

It is predicted that by the year 2001, baldness will be obsolete.

hair 2001.6

These predictions I’ve prefaced with the questions, also paraphrased from the book:

By the year 2001, will a lunar hippie protest by means of a closely-shaved scalp?

A balding Astro flash a pair of false eyebrows to offset a full magnetic wig?

 

 

 

hair 2001.3

hair 2001.7

The 6 rigid pages consist of laseretch plexiglass, hair, copper foil and copper tape, bound in a variation of an across the spine coptic style first introduced to me by Keith Smith and found in his book Smith’s Sewing Single Sheets. They are sewn with heavyweight linen twine. The covers are of Cocobolo wood that I get from Bell Forest Products. This is a wood that is too oily to glue well, but for sewn on covers it works very well. Those same oily properties means this wood polishes beautifully. The covers of Hair 2001 are waxed – smooth and silky to the touch.

As an aside, Cocobolo wood also has a strong odor, a very pleasant tangy floral order, sort of like my shampoo. The front cover has a window cut out, into which a sandwich of mica, plexiglass and hair is inset.

I am well pleased with this book. The size (The book measures 3 1/2 x 3 1/4 x 1 5/8 closed) and weight of it feel good in the hands. It is visually enticing and well constructed. The content makes me chuckle.

Posted on Leave a comment

Euxoa Auxiliaris

Its one of those summer seasons when the Miller moths are abundant. It makes me think of the 2002 exhibition “The Miller Family Story” by Sandy Lane (see photo). For her series Lane used the aggravating presence of Miller moths in her home and studio as a catalyst to a body of work that included painstakingly painted and mounted months recessed into cut away areas of her paintings.

lane-moth.jpg

 

IMG_1085

 

My project was triggered by a moth who landed on the wide expanse of PVA in an open gluepot and become mired but not submerged. I removed it and slid it onto a circle of mica. The combination of moth/mica/circle became the dominant element in the book Euxoa Auxiliaris.

To begin, I collected death moths from around my studio, some with wings folded, others with wings more outspread. I stuck them with insect pins to a piece of foam core and coated them liberally with Rhoplex (which is similar to an acrylic gloss medium). I scanned and printed an antique sheet of various types of moths onto a lightweight textweight paper and found some two inch clear circular boxes. After determining a page size, I cut 4 pieces of poplar wood to the final page dimension and drilled a 2 inch hole in each. IMG_1089

Each wooden page is covered with some scrap from Cave Paper. On one side of each page the circle cut out is left exposed, on the other side it is covered with a lightweight board to which the inkjet moth images are laminated. Before mounting onto the wooden page, the inkjet print is protected with a sheet of mica. Using wet adhesives with mica doesn’t work well because it isn’t porous; contact adhesives aren’t transparent enough. So I use a PMA two-sided film to laminate the mica to the inkjet prints.

IMG_1087

The moths are arranged and glued with PVA to the mica, the clear box placed over them and glued into place. A paste made of ebony sawdust and Rhoplex is used to fill the gap between the wood and plastic. The text block is held together with a variation of what I call the Mongolian Binding, a rigid page binding technique that works well with thick pages. I saw a variation of this used on a book by Jana Sim at Abecedarian Gallery called My Doors (see picture). my_doors_1.jpg

The tapes for Jana’s book are leather; I used laminated bookcloth instead as I wanted less bulky tapes.

WIP Euxoa Auxiliaris 9WIP Euxoa Auxiliaris 10 The covers are book board covered with lightweight Nepalese paper on which on image of a swarm of Miller moths is printed. The circular title label is recessed into the front cover board, printed on paper and protected with a sheet of mica. The text is laserprint transferred to each page. On the outside pages, black and white laser printed images are transferred to the top, bottom and fore-edge pages of the text block.

Above details the structure and handling of materials. Now here is a bit about how the text and other content of the book was developed. I started reading about the moths that I’ve always referred to as Miller moths. Using the information I found about these predictably fascinating pests I wrote a snippet less scientific than the sources I used, along with a second snippet consisting only of a string of words, the two writings kept separate by use of different typefaces and placement. The text for the book follows:

Like the dusty flour covering a miller’s garb, wings covered with fine scales easily displaced, eyes, pale colored, reflect light, appear to glow.

In army-like groups they crawl across fields or highways, migrating towards the mountains.

Sleeping by day, they awake at dusk. Thinking all light is the moonlight they use to guide their nocturnal journeys westward, artificial lights confuse their insect response.

During this moist year, they have lingered here, flapping about in my cold coffee, or taking a fatal dip in an open glue pot.

Spiraling to the source a moth to flame

EuxoaAuxiliarisdetail2

The book measures 3.5×2.5×2.25 inches and was finished on July 5, 2009

WIP Euxoa Auxiliaris 6