Heavenly Series
In
the Heavenly Series, bookplate illustrations from Guy's Elements of
Astronomy, published 1845-1865, as well as First Book in Astronomy, published
in 1844, are cut and recombined. Weaving the paper intuitively,
responding to the existing illustrations' linear and graphic
patterning, allows for a new symbolism to form. The planets, orbital
arcs and their phases are divorced from their intended scientific
charting and when re-assembled present a new universe of lines,
spheres and angles. Threads are sewn into the woven surface of
fragmented images creating a dense iconography, resulting in an
alternative patterning. A unique perspective of the mapping of the
skies is depicted utilizing the antique materials.
In the astronomy books from the 1800's the observations of the universe provide a record of our fascination and curiosity for the mysterious cosmos beyond. That quest for understanding continues to capture our imaginations and propels us further.
In the astronomy books from the 1800's the observations of the universe provide a record of our fascination and curiosity for the mysterious cosmos beyond. That quest for understanding continues to capture our imaginations and propels us further.
Markings
Fragmented lines of script from a New England journal dated 1858 -1863 provide flowing, curvilinear marks on paper - fluid human strokes, sepia tones and an implied history. While suggestive of anecdotes and insights these selected strips of paper visually weave in and out of the painted surface. Through the use of collage, letters and words form intriguing records of the past that we cannot decipher.
These purposeful marks are transformed into a new visual language when edited and juxtaposed with color fields of gouache. The linear repetition suggests a continued process leading us to another level of understanding and perception. Repetitive lines of stitching sewn into the handmade paper reinforce the newly established merger of these elements and reminds us of the persistence of time. Past and present meet in an intimate and delicate manner.
As this series progressed, the mark-making emerged as the primary focus. They evolved into eloquent, playful, layered graphite marks which dance across the surface as a fluid energetic record of the present moment. The transient and illusory is metaphorically suggested by the use of drafting film as the drawing surface, replacing the paper used earlier in this series.
A second layer of drafting film creates a shadow effect to the linear story. The horizontal linear repetition is grounding to the bursts of movement. The horizons suggest a continued process leading us to another level of perception while reminding us of the persistence of time. Selected color partners with the graphite repeating and emphasizing the gestures and choreography.
"Flowing, curvilinear marks are interrupted by horizontal stitching recalling the scribe's horizontal guidelines that support the bi-linear text. The fluid, handmade strokes, soft sepia tones, and the personal history of the journal speak of hope, but also suggest anecdotes and insights - fragmented records of an indecipherable, but intriguing past. The faint image nestled in the background exemplifies the palimpsest effects."
–Kathrine Page, Scribes of Hope II, traveling exhibition, Christians in the Visual Arts