Altered book, overprinted digitally, cut with a scalpel and rebound with thread. H210 x W140. Acquired from the artist, 9 June 2020. Photos: Books On Books Collection.
The William Morris wallpapers in Standen House, an Arts & Crafts home in Sussex, and the memory of Charlotte Perkins Gilman’s story “The Yellow Wallpaper” inspired the creation of this altered book. The work altered is a 1979 National Trust publication on Standen House. In Gilman’s story, the main character, who has a mental breakdown from being forced into domestic seclusion, gradually claws away the yellow wallpaper in the room where she is locked away. In correspondence, Penn writes that she unbound the original booklet, ran the pages through a digital printer, performed the cutting and then rebound it. In a clever reversal, by the end, the wallpaper print and its excision have taken over the walls of the book of Standen House.
Photo: Courtesy of the artist.
Digitally printed concertina.
Cover: H126 x W90 mm; pages, H125 x W88 mm.
Edition of 20, of which this is #8.
Acquired from the artist, 6 February 2020. Photos: Books On Books Collection.
A book within a book, fieldwork offers an entrancing visual narrative. A small white book unfolds from nothing to small pebbles, larger pebbles, more pebbles to fewer, and finally to one pebble in the center. Is it the reverse of the process of erosion? Is it categorization by the human eye and hand striving with nature’s agglomeration?
The artist has embedded the visual narrative here in an innovation on the framing device to be found in Helen Douglas’s Wild Wood and A Venetian Brocade. As with the latter works, fieldwork encourages us to touch with our eyes. It is a stunning piece of trompe l’oeil. On glimpsing any double-page spread, the reader/viewer is tempted to pick up one of the pebbles apparently resting on that white piece of paper open on a photo of a shingle beach. Visitors to Kettle’s Yard will recognise the temptation.
Project C: Destination Unknown (2020)
Organised by Pauline Lamont-Fisher, Project C is the result of a collaborative effort among 14 artists:
This project is about intersemiotic translation between images to words and from words to images and the paths that form between them. Roman Jakobson in Linguistic Aspects of Translation suggests the idea of intersemiotic translation as the translation from one sign system to another: i.e. interpretation of verbal signs by means of signs of non-verbal sign systems. So every novel adaptation into film, constitutes a translation. The illustrations in a book act as translations of text into images. Every time you watch Tchaikovsky’s Nutcracker, you watch an intersemiotic translation from narrated story into ballet.
The artists were given a set of anonymised covers of Italy Calvino’s If on a winter’s night a traveler and asked to choose one and, keeping in mind Jakobson’s notions of intersemiotic translation, produce a folio or pamphlet in response. Caroline Penn’s contribution uses text, typography, structure, choice of paper, density of ink and a pattern of hole punches to translate or evoke not only the image below but the substance of Calvino’s novella — or at least a key element of the substance susceptible to translation to an artist’s book of translucent Bible paper and pergamenata.
The contrasting whites of the Bible paper and the translucent paper that comes uncannily close to animal parchment mirror the different colors of snow in the cover.
The dispersed positioning of the letters of the word “vapour” mimic the falling snow. The series of darker inked phrases set below, separated from each other by hyphens and staggered downwards across the panels echoes the rail track and cars in the cover.
The body of light gray likewise sloping down from left to right recalls the declining mountain gap crossed by those train tracks.
Across the foot of the page, the holes punched in a lowercase letter “o” and separated by two unpunched uppercase “O’s” also evoke the rail tracks and cars. In a nod to the Oulipo pattern-driven nature of Calvino’s work, the noughts of the “O’s” are answered in the crosses of the “X’s” supporting the text that crawls across the panels, finally turns the corner of the last panel and fades into the gray word “invisibility” on the reverse of the last panel.
A tour de force of book art — making text, image, ink, papers, layout, structure and impression work, mean and become a thing independent of the inspiring constraint.