Books On Books Collection – Jaz Graf

Trophic Avulsions (2016)

Trophic Avulsions (2016)
Jaz Graf
Cyanotype accordion book with thread drawing, paper lithography and laser engraving on wood. Closed: H6 x W8.5 x D1.0 inches; Open: W80 inches. Unique. Acquired from the artist, 14 March 2018. Photos: Books On Books Collection.


Graf has used satellite photos of various river deltas around the world to create the cyanotype prints in this work. The patterns from which are exposed come from paper litho prints made on fabric. The result is a blurring, softening yet “nearing” of the otherwise sharp, scientific and remote images normally viewed on digital screens or photographic paper. As Graf points out in her description, the word trophic “relates to an ecological concept of the trophic cascade, in which one action leads to another in an ecosystem, implying ideas of interconnectivity.”  

That interconnectivity and the impact we have on “the separation of land from one area and its attachment to another”, which is what avulsion means, is implied by the streams of thread meandering across and off the panels of the accordion form from beginning to end. Even though the panels fold to fit within their laser-engraved birch panels, they vary in width, which breaks up the expected regularity of the accordion when it is extended. The engravings show a delta emptying into a desert and are mounted on wood blocks covered in muslin bearing the printed delta image made with paper lithography. 

Thread drawing is a technique common to several outstanding works of book art: Jody Alexander’s Felix’s Notebook (2008), Marion Bataille’s Vues/Lues (2018), Dianna Frid’s Reversal (2009), Candace Hicks’ Composition (2009~), Helen Hiebert‘s Nebulae (2017), Shellie Holden’s Maps (2006), Lisa Kokin’s Partial History of Jewish Life in Modern Times (1997), Ines Seidel’s Changed Constitution (2015) and Mireille Vautier‘s Agenda (2001) among others. Graf’s handling of the technique and its combination with cyanotype printing and lithography in the treatment of her theme, though, make it distinctive and original.

The environmental focus of Trophic Avulsions places it in a well-loved tradition in book art. Other works by Graf, such as Mother Water (2018) below, would be comfortably at home in an exhibition with

Biography (2010) by Sarah Bryant, who creatively connects the human body’s elements with those of the periodic table to bear witness to our impact on the environment and vice versa;

the Ice Books series (2007-17) by Basia Irland, who selects local seeds and embeds them as “text” in a block of frozen river water, carved into the shape of a book to be released into the local river where it melts, releasing the seeds;

the Whorl series (2013- ongoing) by Jacqueline Rush Lee, who returns books to their botanical origins by sculpting books and inserting them into the cavity of a tree to allow time, changing weather conditions and insect activity to rewrite them into the shape of a whorl in a tree hollow;

Batterers (1996) by Denise Levertov, Kathryn Lipke and Claire Van Vliet, who combine Levertov’s powerful poem extending a metaphor of abuse to the earth with Lipke’s clay paperwork set into a wooden tray as the base of this sculptural book, whose pages Van Vliet makes unfold into a fiery landscape; or

Silent Spring Revisited (2016) by Chris Ruston, who uses her frequent visits to natural history museums to inspire works that blend science and art that highlight extinction and the interdependence of humans and nature.

If such an exhibition — a twentieth anniversary of Betty Bright’s 1992 “Completing the Circle: Artists’ Books on the Environment”? — were organized, Trophic Avulsions would be available to loan!

Mother Water (2018)
Laser-etched acrylic, cyanotype, porcelain
Dimensions variable (15 panels – each 14”x11”)
The river featured is Thailand’s Chao Praya. Photo: Courtesy of the artist.

Books On Books Collection – Ioana Stoian

Nous Sommes (2015)

Nous Sommes (2015)
Ioana Stoian
Nine handmade-paper forms in handmade cloth-covered boxes, fitted to flapped container with magnetic seals, enclosed in cloth-covered Solander box. H310 x W305 x D54 mm. Acquired from the artist, 4 July 2017. Photos: Books On Books.

“Nous sommes”, the French for “we are”. But who is “we” here? Opening the first two flaps inside the blue-grey Solander box, I see that my first question should have been: What is Nous Sommes? The answer on the title page: “A physical manifestation of the human soul”. So, a book or sculpture then.

The third and fourth flaps reveal six diagrams to add to the three above the title page: a table of contents?

There are three brightly coloured boxes showing and fitting snugly together: the first three chapters or objects? Two are triangular, one is a parallelogram.

The next flap up gives another three boxes, all triangular and each a different color; and under the final flap, three more boxes, three more colors and a square among the triangles. Nine boxes making a tightly fitted square; six of them easily grasped because each has an edge at the perimeter.

The diagrammed shapes on the “table of contents” don’t correspond to the shapes of the nine boxes. The diagrammed shapes must be inside the boxes.

So I begin with the larger, lighter blue box. A sharp tap on the box, and a stiff, folded paper the same color as the box emerges. No words, no glyphs, but this is one of the shapes printed on the “table of contents”. It invites manipulation: stand me this way, now that, now this. With each turn, the light brings out different shades from the form’s valleys and mountains, and the form throws different shadows. Next the smaller, darker blue box houses a two-piece “chapter”, one piece to slot into the other. Again, different shades, different shadows.

The red box also offers up a two-piece chapter, but the pieces are glued together. So much larger a shape than the one before, but so much simpler.

The single piece from the orange box asks to be unfolded and one tip to be slipped into an awaiting slot; the resulting object is strange.

From the gold box, a butterfly emerges. The light glints off the gilt ink, and the upright box seems the perfect perch. From the green box, a glued and folded strip of paper unfolds into a hat, a collar, an open-mouthed bird or frog?

Inside the inner pink triangular box is the only solid — an irregular hexahedron. The contents of the violet square box unfolds and slots into itself to form a flower, the head of a mace?

The form that emerges from the small yellow box seems the most multi-faceted of all.

But where is the human soul manifest among these colors and forms?According to Neo-Pythagorean philosophers numbers, string vibrations, musical notes, colours and form have fundamental, metaphysical relationships. Pythagoras himself is thought to have said “colour is form, and form is colour”. Then there is Pythagorean Numerology that holds that a person’s date of birth can be distilled into one number (a root number) between 1-9, that each number is associated to a colour, and that each colour aligns with certain inner traits and life purposes. So within a box of grey (the color of universality), there are the nine colours of humanity: We are, making Nous Sommes a startling integration of book art, Pythagoras, numerology, tangrams, origami, papermaking, boxmaking, binding and printing.

Tap the image above or title for the video Nous Sommes — An Artist Book by Ioana Stoian. Produced by Eric Gjerde.

On the title page, the work is designated as “Edition 9 of 9“. Yet, as of this writing, the work is unique. Of course, 9/9 = 1. And the chapter with which I started was blue, the colour associated with the number 5, the root number of my birth date. So many coincidences of sums, Nous Sommes must have been bound for the Books On Books Collection.

Further Reading and Listening

A Match Made in Paper”, Arctic Paper, 4 July 2019. Accessed 23 September 2019.

Bookmarking Book Art – Ioana Stoian”, Books On Books, 8 February 2018.

Hiebert, Helen. “Ioana Stoian“, podcast interview, Paper Talk, 16 April 2020. Accessed 19 April 2020.

Huffman, Carl. “Pythagoreanism“, The Stanford Encyclopedia of Philosophy (Fall 2019 Edition), Edward N. Zalta (ed.) Accessed 1 April 2020.

Lawlor, Robert. “Pythagorean Number as Form, Color, and Light”, in Homage to Pythagoras: Rediscovering Sacred Science, ed. Christopher Bamford (SteinerBooks, 1994), pp. 187-212.

Stoian, Ioana. Origami for all : elegant designs from simple folds (London: Busy Hands Books, 2013).

Stoian, Ioana. “Nous Sommes, My 2015 Artist Book”, 31 December 2015. Accessed 20 January 2017.

Stoian, Ioana. The origami garden : amazing flowers, leaves, bugs, and other backyard critters (New York: St. Martins Griffin, 2016).

Stoian, Ioana. Always be you (London: Busy Hands Books, 2019).