wood nymph folio book set

wood nymph is about an artist and a wood nymph. It evokes struggle, transformation and rebirth through a deep longing for change, tempered by a strong determination to preserve an existing order. It illustrates a bond between nature and human.

The folio book set comprises handmade components that engage the reader in quietly discovering the spirit of the woodland through sight and touch.

All components are enclosed in a 5" x 5" x 1” paper case with four folding flaps and a sliding belly band.

A four-page colophon, assembled flutter book style (Japanese sempuyo), contains the artist's preface and details on the paper, printing, editioning and copyright.

A second flutter booklet features a freestyle twenty-two-page poem; a handmade caddisfly larva case, constructed of leaf, twig and other materials, serves as a bookmark.

The reader can display and view on a small easel stand a series of nine photographic archival pigment ink prints on paper, assembled in a folder. In addition, a translucent beeswax-infused photographic print on Japanese unryu washi paper waits to capture ambient light.

Sample pages:

Colophon, pp 1-2

Poem, pp 6-7

This is an open edition; each set is signed and numbered by the artist.

The book and photo print as experiential objects

I've just completed a handmade folio edition of wood nymph.

I'm interested in the physicality of books and photographs and in moving them off the wall, shelf and screen into one's hands.

For me, the handcrafted artist book is a 'living' object, offered by the artist-writer to the reader in order to be felt, touched and viewed. It can be an experience whereby one discovers new layers of meaning while engaging physically with the content, the format and the components.

The same applies to a photographic print, often trapped behind a mat and glass, contained within a frame and nailed to a wall—out of reach of the viewer. I have explored various ways of making my photographic prints more tactile and visual, by printing on Japanese washi paper, infusing them with wax, or creating mixed media encaustic images. These translucent pieces capture light and can be viewed suspended, hung away from the wall. They can be touched since they are not confined to frames or trapped behind glass. The pieces can also move with air currents and change as the ambient light does.

The issue, however, especially if one is not really into gallery showings, is what to do with the inventory of prints one produces, other than give them away to friends?

For me, one answer is to create small photographic prints (e.g., 5" x 5"), with or without encaustic. These less expensive images can be part of an artist's book, shared with and touched by friends and colleagues (e.g., ATC style). One can provide a small simple easel to display these miniature pieces.

My recent wood nymph folio case is one example of such a multi sensory experiential piece.