Books On Books Collection – Shirley Sharoff

La Poésie de l’univers/Poetry of the Universe (2012)

La Poésie de l’univers/Poetry of the Universe (2012)

Shirley Sharoff

Three small volumes with aphorisms by Aristotle, Euclid, and Antoine Lavoisier (one per volume, respectively, in both English and French); each printed letterpress in various fonts and typographical arrangements along with four intaglio prints on one sheet of paper. The paper is cut along some of the folds so that folding and unfolding reveals different combinations of the text and images. Typography by Vincent Auger on Rives 250 GSM. Engravings printed by René Tazé. Edition of 25 and 3 casebound. H215 x W120 mm. Acquired from the artist, 5 February 2019. Photos: Books On Books Collection.

According to Shirley Sharoff (Books On Books interview, 5 February 2019), the fold and form of these three books were inspired by Katsumi Komagata’s work, and “Making each one was like a different game I was playing or puzzle I was solving”. Although the fold and form of each book is the same, the effect differs in each because of the placement of text and image. The result is three works of book art teasing the reader/viewer into playing with the artwork or solving the puzzle of reading/viewing it — and appreciating how the text from Aristotle, Euclid or Lavoisier fuses with the fold, form, typography and prints in each book.

The game or puzzle of finding the order of unfolding the books has several interlocking levels. On one level, there are origami “mountain” and “valley” folds, there are kirigami cuts, and vertical and horizontal openings. As these present themselves, the process of discovering or reading the text — what it is and how its syntactic order suggests the direction and order of unfolding — emerges as another level in the game. In parallel are the dual levels of deciphering the order (if any) of the intaglio prints’ appearance and relating the images to the text. And then there is the level of the relation of French to English and vice versa.

While the sets of four prints occupy the same position in each of the three single sheets, they “illustrate” their texts in different ways. In Aphorism 1, the whole tree occupies the “concluding” position of the lower right-hand corner, making a whole that is greater than the sum of the parts depicted in the other prints. In Aphorism 2, the images of transportation — train, car, plane, feet — follow from the abstract image of parallel lines. And in Aphorism 3, the two images of leaves overlapping human creations — buildings and litter — are bracketed by a central image of nothing but litter and a lower right-hand image of nature and the human-made landing atop a protruding pair of legs and feet like those of the Wicked Witch under the house in the Land of Oz.

In their variety of relationship to the structure and text, the three sets of images feel a bit secondary. Not so the presence of two languages. From the start, the French title page backed by an English title page on translucent paper suggests some sort of centrality for this bilingual feature. The only variation among the three volumes is that in Aphorism 1 and Aphorism 2, the complete French expression appears in a single panel, whereas in Aphorism 3, the English expression takes up that position. Why the bilingualism at all? The breaking up the expressions across the folds and cuts, the interspersing of images among the phrases, and the summary panels (two in English, one in French) suggest a halting, fragmented relation of each language to the other. Despite the title pages’ implication, the bilingual expressions do not exist simultaneously in parallel in any one of the single sheet books. By extension, is the relationship of language-image-thought to reality (whether metaphysical, geometrical or chemical) similarly fraught?

Impermanence subtile/Subtle Impermanence (2013)

Impermanence subtile/Subtle Impermanence (2013)

Shirley Sharoff

Portfolio box with four hinged flaps; five gatherings of folios bearing seven prints, collages, photos and cut paper. Text in English and French. Portfolio box: H212 x W340 x D24 mm; Folios: H200 x W330 mm, closed; variable width open, maximum W780 mm. Edition of 35, of which this is #22. Acquired from the artist, 5 February 2019. Photos: Books On Books Collection.

In Impermanence subtile/Subtle Impermanence, Sharoff’s bilingual perception of the world displays itself as more parallel, simultaneous and integrated — more subtle — than in La Poésie de l’univers/Poetry of the Universe. Where Poetry of the Universe explores this perception through dual forms (single-sheet origami/kirigami and book), Subtle Impermanence uses a multiplicity of forms (portfolio, flap book and pop-up book).

The first gathering — a single-fold folio whose first page presents the photo-collage of litter, demolition, construction and warning signs and tape — opens to a double-page spread that performs the book’s half-title function and also announces the work’s bilingual theme with the English adjective leading and the French adjective following the noun equivalent in both languages: IMPERMANENCE.

The first page of the second gathering performs the “title page” function of the book. When it opens, the first flap-book feature appears, the French text initially covering the English and, then, revealing a more parallel existence of the English and French. This is subtlety layered on subtlety. The text that appears and disappears under the flaps, and unfolds across the gathered folios, proceeds syntactically in a similar way, unrolling its qualifying dependent clauses one after another seemingly without beginning or end. As if mentally preparing a translation, the reader has to hold in mind each qualifier until what is being qualified can be reached.

Those 5 flaps signal yet another subtlety. The text comes from the opening of Ian Monk’s Tri selon Tri (“sort by sort”), a concrete poem in the Oulipo tradition of Raymond Queneau, Italo Calvino and Georges Perec. Following this tradition means creating a literary work that adheres to some rule or constraint — like those in a game. In its original presentation, the poem works within a structural constraint consisting of 5 blocks of text, each 37 characters wide with the first and last blocks being 25 lines deep and the three middle blocks each being 22 lines deep. In self reference to its main theme that humanity is replacing the 4 elements (earth, air, fire and water) with categories of human detritus, the poem calls the first and last blocks poubelles (“trash cans”) and the three middle blocks “dumpsters” (bennes). In each middle block, a blank space — 7 characters wide by 3 lines deep — appears, mimicking the side openings of trash sorting bins. Sharoff’s subtle sculptural nod is 5 flaps (as well as 5 gatherings) for the 5 receptacles.

The third gathering above consists of a shortened single-fold sheet bearing the large print of commuters and shoppers and embracing a larger single-fold sheet divided by a loose black paper stencil. With its cutout human figures, the stencil overlaying another photo-collage of litter foreshadows the extract’s concluding metaphor: that, after the first three new elements of paper, plastic and glass comes the fourth new element — those things that finish up in their own trash can, i.e., humanity itself.

The fourth gathering above delivers yet another hint in the form of a pop-up feature: three receptacles, two of which have human-figure cutouts. These human figures have been appearing throughout in the intaglio prints, and in their over- (or under-?) printing of litter and construction, they too have been delivering the same hint.

Just as the first gathering’s closed flaps display French only, the fifth and final gathering’s closed flaps display English only. The three flaps on the left rise to reveal the final print showing human figures entangled in their fully constructed world and undercut by the fourth flap’s articulation of the metaphor and implicit identification of them as “those things that finish up in their own trash can”.

Beneath that fourth flap, the artist concludes in French and English, leaving the colophon to appear on the last page — oddly — in French only.

These two works by Sharoff are perhaps bettered only by two others not in the Books On Books Collection: Ovi (1988) and La grande muraille/The Great Wall (1991). It is interesting that, while the former reflects her preoccupation with the Oulipo circle (Ovi draws on Calvino’s work), it sticks to one language (French); whereas La grande muraille engages with three languages (French, English and Chinese) yet draws on the text of a Chinese modernist (Lu Xun), not the Oulipo circle. Both, however, reflect the same ingenuity of juxtaposition and integration of language, image and forms to be found in La Poésie de l’Univers/Poetry of the Universe and Impermanence Subtile/Subtle Impermanence, which makes them defining works in the Books On Books Collection.

Further Reading

Photos and further commentary on Ovi can be found here: “Shirley Sharoff”, Bookmarking Book Art, 27 March 2019. A more detailed view of La grande muraille can be found here: ‘Learning to read Shirley Sharoff’s “La grande muraille”’, Bookmarking Book Art, 17 June 2018. The video below, posted 17 June 2020, features Sharoff describing the work.

The most extensive essay on Sharoff’s work can be found in Paul van Capelleveen’s Artists & Others (2016). It comments on La reparation (2001), The Waves (2003), Les amazones sont parmi nous (2005), Bruits de la ville (2007), Impermanence subtile (2013), La poésie de l’univers (2012-2013). He addresses La grande muraille (1991) in Voices and Visions (2009). The special collection at the Koninklijke Bibliotheek in The Netherlands is one of the few where several of Sharoff’s works — including La grande muraille — can be seen and handled in one place. Also prepared by Van Capelleveen is this entry “Impermanence subtile. Subtle impermanence“, KB National Library of the Netherlands, Koopman Collection, n.d. Accessed 26 July 2020.

Christophe Comentale’s essay captures the delight of exploration and discovery in the encounter with Sharoff’s art.

Shirley Sharoff, entre France et Etats-Unis, présente une pluralité d’inspiration consommée entre l’estampe et le livre devenu un média, entre unique et multiple. […] Magicienne des formes et des couleurs, Shirley Sharoff ne cesse de remettre en cause, par besoin autant que par défi personnel, tout ce qui pourrait ressembler au début d’un système de lecture, de vision, figé et donc clos. L’impossibilité de savoir -qui vaut aussi pour elle- de quoi sa prochaine oeuvre-livre-manuscrit-tableau-dépliant, ou tout cela à la fois, sera fait est assez excitant. La présence de textes sentis par affinités sensorielles, personnelles, avec des écrivains non encore classiques, autant de raisons d’apprécier de pénétrer dans cet univers où le conformisme est inexistant.

Christophe Comentale, “Shirley Sharoff, des livres a tenir debout et des estampes a voir aussi”, Art & Métiers du Livre, n°231 (Aout-Septembre 2002), p.63.

Books On Books Collection – Caroline Penn

Standen (2014)

Standen (2014)
Caroline Penn
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.

By coincidence, American book artist Harriet Bart co-curated an intriguing exhibition called “Wallpaper“. Bart’s entry, too, was inspired by the Gilman story.

fieldwork (2017)

fieldwork (2017)
Caroline Penn
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.

Project C: Destination Unknown (2019)
Caroline Penn
Digitally printed on Offenbach bible paper stitched to pergamenata. Concertina, H186 x W130 mm. Edition of 30. Acquired from whnicPRESS, 7 March 2020. Photos: Books On Books Collection.

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.

Bookmarking Book Art – Shirley Sharoff

Magicienne des formes et des couleurs is how Art & Métiers du Livre (2002) describes Shirley Sharoff. The magic she makes reveals itself in a particular kind of fusion. One of structure, content as image, content as text, color, type, layout, material and craft. It is a magic best sensed when handling or really seeing her work.

OVI: objets volants identifiés dans le ciel d’Italo Calvino (1988) Shirley Sharoff
Graphic ‘big bang’ and typographic spirals with an extract from Cosmicomics by Italo Calvino, postface by Mario Fusco
4 color etchings printed by the Atelier René Tazé
Edition of 74 on Vélin Rives
Typography by François Da Ros in Cochin typeface
In a silver-colored box of 26.5 x 37 cm Photos by Books On Books and reproduced with artist’s permisision

Brooklyn-born but resident and working in France for most of her life, Sharoff studied in Paris under Gotthard Johnny Friedlaender (1912-1992), learning his method of making color prints from two or three different plates. She came to the artist’s book in the 1980s through a friend who introduced her to a typographer with whom the friend was working: François Da Ros.

During my conversation with [Da Ros], I told him that I had an idea for a book but didn’t know how to go about it. It involved prints and an excerpt from one of Italo Calvino’s works. … that’s how my first artist book got started — and once I did that I thought “artist books” were so interesting that I just wanted to keep on doing it. — Artist’s correspondence with Books On Books, 18 December 2018

The result of that encounter was OVI (1988). The text came from Calvino’s Big Bang story “Sul far del giorno” (“At daybreak”) in his collection Le Cosmicomiche (1965) (Cosmicomics, 1968). Calvino’s story relates how the main character, Qfwfq, and his extended family, from a species we cannot identify, experience the cosmic Big Bang.

The story’s language, character and narrative deliver an astrophysical and micro-organic alchemy that falls in line with Calvino’s association with the Ouvroir de Littérature Potentielle (OuLiPo) or “Workshop for Potential Literature”. OuLiPo’s participants seek and have sought new forms and structures for literature through play with the properties of language, word games or imposing constraints through mathematical or computational principles such as Boolean algebra or recursiveness. For example, Georges Perec wrote La Disparition (1969), a “lipogrammatic” novel avoiding any words containing the letter “e”. Raymond Queneau constructed Cent mille milliards de poèmes (1961), which is actually an interactive work of book art, confronting readers with 1014 different sonnets generated by the reader’s choosing one of 10 options per line, accessed by turning each line like a page.

OVI lifts this literary playfulness into a revel of intricate puns, played out in language, image, typography and structure or form. Sharoff discovered the Calvino story in Le Monde independently of her prints already underway, but it was the conjunction of the story with them that led her to “an idea for a book”. Although, like Friedlaender, Sharoff would illustrate books, the idea diverged from a mere illustration of the story or a livre d’artiste in the traditional sense. Like many book artists, Sharoff conceived a blend of image, text and form. The Sharoff/Da Ros execution of her idea re-presents, absorbs, reacts to, embodies Calvino’s fiction in a work that stands apart from it. It is the reverse of the usual ekphrasis we see when a literary text strives to re-present, absorb, react to, embody an urn, a sculpture, painting or print. Think of Keats’ “Ode to a Grecian Urn”.

Instead of Unidentified Flying Objects (OVNI in French), the artist gives us OVI (“identified flying objects”), the first three of which are the letters “O”, “v” and “i” appearing through the “black holes” of the silver paper slipcase. As the black portfolio emerges from the slipcase, we see the i’s dot adrift as perhaps another object in the firmament. Through the holes in the slipcase, the same letters reappear printed on the inside of the slipcase but with the i’s dot no longer adrift (the “stars” aligned?). And this is just the start of the punning and play with structure, content as image, content as text, color, type, layout, material and craft.

The portfolio removed from the silver paper slipcase

Encased in the trifold black portfolio are nine loose map-like folios.

Opened, the folios display selected text from the French translation of Calvino’s short story and four Sharoff prints. In three of the prints, the text swirls, construction-poem-like, around the multicolor images. Part of the folios’ magic here is Sharoff’s fusion of image with the substance of Calvino’s words, a Friedlaender-esque palette and the typographic and form-locking skills of Da Ros.

The first image looks like a macrophoto of a cell (or is it an image of the sun?) with numbers superimposed. The second image looks like a cloud nebula (or is it some multicellular life form with two flagellae?) consisting of everyday objects. The third image looks like an asteroid belt (or is it a paramecium?) made of a discarded aerosol can and other trash.

“The darkness came back. By now we were sure that everything that could
possibly happen had happened, and ‘yes, this is the end,’ Grandmother said, ‘mind what
us old folks say. . .’ Instead, the Earth had merely made one of its turns. It was night.
Everything was just beginning.”
from Italo Calvino, “Sul far del giorno” in Le Cosmicomiche (Milan: Einaudi, 1965), translated as “At Daybreak” by William Weaver in Cosmicomics (New York: Harcourt, Brace & World, 1968)
Detail: the “cloud nebula”(?) image, formed of identifiable everyday objects
Detail: the “asteroid belt” (?) image, formed of everyday detritus

One of the four prints stands alone without text. The image is a cascade of large and small numerals, logic symbols, a gear, protractor and metallic-looking detritus landing in a heap.

Detail: the fourth print

One of the leaves deploys a Turkish map fold, opening to reveal a constellation of numbers, letters from the periodic table and terms from particle physics and astrophysics — an outstanding display of skill from Da Ros and entirely evocative of Qfwfq and his family’s bizarre tale of the big bang. It’s also a prescient reminder that a crater on the planet Mercury and a main asteroid belt were named after Calvino.

The separate folios echo the abrupt jumps in Calvino’s story. In the end, Sharoff succeeds with OVI in echoing how the story — despite those jumps, the bewildering and unpronounceably named characters and the teasing references to familiar and unfamiliar domains of knowledge — hangs together. The spiraling text makes the viewer turn and turn the opened folio to read the words — much as the story’s surreal yet familiar characters and their situations make the reader puzzle through the storyline. The prints present the viewer with familiar yet unfamiliar shapes composed of everyday objects or recognizable symbols. The tactility of the paper, the solidity of the slipcase and texture of the multicolored prints play off the intellectuality of the ekphrasis and scientific images and symbols in much the same way as the familiar familial relations play off the characters’ bewildering experience of the cosmic Big Bang.

Sharoff’s next major artist’s book — again with Da Ros — would be La grande muraille/The Great Wall (1991). There is little if anything implying a Chinese or other oriental influence on printmaking or typography as practiced by Friedlaender or Da Ros, respectively. And until her visit to China in the late eighties, Sharoff’s work showed no such influence. When the influence came, it was concentrated in the one work. Sharoff was concerned not to respond to China in a typical Western artist way or to fall prey to traditions that neglected the hardship or grittiness she saw while teaching English to young Chinese bank employees. Sharoff hungered for a text that would fuse with the images coming to her in reaction to the remnants of the Great Wall, the summer palace’s maze, and post-revolutionary infrastructure.

La grande muraille/The Great Wall (1991)
Shirley Sharoff
Taken at Koninklijke Bibliotheek, Den Haag, Nederlands. Reproduced with permission of the artist.

She uses the words of the 1930s writer Lu Xun and those of her 1980s English-language students to bounce echoes of strife, ambivalence and paradox from the walls of her prints and artist’s book, a double-sided accordion in forme en escargot (snail-shell form as she calls it). Lu’s poem appears in Chinese calligraphy and translated into French and English, set in bold and equal in weight to the Chinese characters. Sharoff breaks the three versions across increasingly shorter segments of paper, layering the different languages like mortar and rows of bricks. In a different, smaller typeface — like fragments of modern brick — the English text from her language students, reflecting on Western culture and their lives, is interspersed along with eight prints. The “snail-shell” structure unfolds/unrolls in a way that both “sides of the wall” end up being read. The juxtapositions and structure draw the viewer repeatedly from the flatness of paper into the multiple dimensions of the bookwork.

Bringing together barriers/bridges — languages, cultures and political eras — the bookwork breathes its own original life into Lu’s text of ambivalence and paradox. It is an effect similar but on a different scale to contemporaneous works by Xu Bing: Book from the Sky (1991) and Ghosts Pounding the Wall (1990-91). The faint markings on the Arches paper of Sharoff’s wall, markings created by printing the results of repeated photocopies of an unidentified manuscript, echo the unreadability of Xu’s faux Chinese characters printed from his 4,000 hand-cut stamps for Book from the Sky. The red edge of Sharoff’s wall and the words of Lu Xun catch the echo of Xu’s and his students’ beating their ink-soaked mallets against the rice paper hanging on the Great Wall and invoke the ghosts of those who died building the wall. The execution of the unusual “forme en escargot” equals in exquisiteness and production value any of Xu’s works.

Front cover
La grande muraille/The Great Wall (1991), Shirley Sharoff

On first encounter, that snail-shell structure of this double-sided accordion book challenges the reader/viewer. Should the work be completely unfurled? Should it stand on its edge, or be laid flat then turned over? To try to read La grande muraille in those ways, however, is to overlook the multi-page spreads that Sharoff conceived with François Da Ros. The snail-shell form, its multi-page spreads and the text demand that you read La grande muraille as you unroll it or, rather, as you unfold it.

With the book laid flat, the “page spreads” are easier to recognize, the text is easier to read, and the forethought needed for the “imposition” of text and images to deliver the sequential text, easier to marvel at. As each recto page is turned to the right, two new pages appear to the right. This unfolding approach to reading the book offers several intriguing “double- and multi-page spreads” and an experience of the texts and eight prints in the sequence driven by the text. When you have finished reading in this sequence, you will have read both sides of the scroll. 

“Pages 1 and 2”
As “page 2” is turned to the right and the English title of the work disappears, “pages 3 and 4” come into view.
“Pages 1, 3 and 4”
“Page 3” displays the authors names, and “page 4” displays the first of eight prints in the book. As “page 4” is turned to the right and disappears, “pages 5 and 6” appear.
“Pages 1, 3, 5 and 6”
“Page 5” gives the title of the book in Chinese calligraphy. On “page 6”,  the opening line of Lu Xun’s text appears in English, French and Chinese.
Turning “page 1” to the right will cover the authors’ names on “page 3”, and turning “page 6” to the right will yield the next four-page view.

La grande muraille is a rare work, viewable at the Koninklijke Bibliotheek in The Hague and these other locations. Almost as rare but still available from the artist is Impermanence subtile/Subtle Impermanence (2013), in which Sharoff continues her experimentation with structures. She returns to the cased portfolio and folios of OVI but introduces fraction folds (two-thirds, etc.), vertical flaps and an accordion structure with mountain folds. In collage-like manner, silhouettes and cutouts of modern everywoman and everyman move through their urban working and shopping environment. And vice versa, images of the environment behind the cut-outs move through everywoman and everyman!

Sharoff’s everyman and everywoman are in strife with the environment. The portfolio opens with a “collage of garbage” whose relationship to them becomes clear in the ways Sharoff works the fragment of Ian Monk’s poem “Tri selon Tri” (displayed in French and English) in, under and through her prints and book structure.

Impermanence subtile / Subtle Impermanence (2013)
Shirley Sharoff
Photo: Books On Books at Koninklijke Bibliotheek, Den Haag, Nederlands
The five folios
Photo: Books On Books collection
The five folios with the first opened
Note the “grammatico-textual” binding of the adjectives around the noun, mirroring the wordplay binding of the poem’s title “Tri selon tri”
Photo: Books On Books collection
The third folio opened to the cutouts leaf
Photo: Books On Books at Koninklijke Bibliotheek, Den Haag, Nederlands
The third folio with the cutouts leaf turned to the left
Photo: Books On Books at Koninklijke Bibliotheek, Den Haag, Nederlands
Print from the third folio, where “blocks of matter/ wind around/ each other/ fold upon fold”
Photo: Books On Books collection
The fourth folio opened to reveal an accordion structure with mountain folds
Photo: Books On Books at Koninklijke Bibliotheek, Den Haag, Nederlands
The fifth folio opened to a flap structure
Photo: Books On Books at Koninklijke Bibliotheek, Den Haag, Nederlands

The cutouts of everywoman and everyman fill up with the photos of trash behind them. In the prints, they stroll entangled in bricks and clutter toward an outcome where “in this universe of base and yet subtle impermanence, we should give up on the old refrains and the four elements of earth, air, water and finally fire, and instead divide matter into four new categories, i.e., paper, plastic, glass and in the end everything left over — those things that finish up in their own trash can” — i.e., us!

Continuing with the elemental, paradox and structural experiment, La poésie de l’univers (2012-2013) takes up the challenge of the folded single-page codex. In each of the three volumes in the set, the pattern of folds and cuts is the same, yet the pattern’s interplay with the prints and bilingual content in each seems uniquely appropriate. A hat trick of book art magic.

La poésie de l’univers (2012-2013)
Shirley Sharoff
Each volume (12 x 21.5 cm) is housed in a slipcase. The text in each is printed on one sheet of Rives 250 gsm in English and French, folding and unfolding to reveal different aspects of the text and images; 4 prints in each book. Edition of 25

The Poetry of the Universe consists of three aphorisms: Aristotle’s “The whole is greater than the sum of its parts”; Euclid’s “Parallel lines meet in infinity”; and Lavoisier’s “Nothing is lost, nothing is created, everything is transformed”. As mentioned with La grande muraille, the execution is exquisite, and likewise, learning to read the work requires exploration.

Opening to slipcase for Aristotle volume
Lower edge of Aristotle volume
Title page and, on the right, the book’s first of four prints
Opening the text: the first print folds to the left.
Note how the syntax requires turning “THE WHOLE” page or fold to the right, which brings the book’s first print back into view.
The syntax and structure call for pulling the lower page or fold to the right.
Folding down the “than” page reveals “Aristotle” and the second print in the book.
The third and fourth prints in the book unfolded downward and from under the two squares above
The colophon appears when the two righthand columns of squares in the previous view are turned to the left.
Detail of third and fourth prints

The etchings in soft grey — an orange and its segments, a blossom and its petals, a walnut and its meat, and a tree and leaf — illustrate the aphorism, much as the typographic choices and arrangements and the breaking up of the sentence complement it. Sharoff makes the second and third volumes perform similarly but differently — just as a magician weaves a routine from variations on the same vanishes and productions of a coin or other object.

Aphorism 2 — Euclid
Aphorism 3 — Lavoisier

As Comentale wrote in Art & Métiers du Livre: ” magicienne des formes”. La Poésie de l’univers is as rare as OVI and La grande muraille. It can be viewed here and here.

For further reading

A more detailed view of La grande muraille can be found here: ‘Learning to read Shirley Sharoff’s “La grande muraille”’, Books On Books, 17 June 2018.

The most extensive essay on Sharoff’s work can be found in Paul van Capelleveen’s Artists & Others (2016). It comments on La reparation (2001), The Waves (2003), Les amazones sont parmi nous (2005), Bruits de la ville (2007), Impermanence subtile (2013), La poésie de l’univers (2012-2013). He addresses La grande muraille (1991) in Voices and Visions (2009). The special collection at the Koninklijke Bibliotheek in The Netherlands is one of the few where several of Sharoff’s works — including La grande muraille — can be seen and handled in one place.

Christophe Comentale’s essay captures the delight of exploration and discovery in the encounter with Sharoff’s art.

Shirley Sharoff, entre France et Etats-Unis, présente une pluralité d’inspiration consommée entre l’estampe et le livre devenu un média, entre unique et multiple. […] Magicienne des formes et des couleurs, Shirley Sharoff ne cesse de remettre en cause, par besoin autant que par défi personnel, tout ce qui pourrait ressembler au début d’un système de lecture, de vision, figé et donc clos. L’impossibilité de savoir -qui vaut aussi pour elle- de quoi sa prochaine oeuvre-livre-manuscrit-tableau-dépliant, ou tout cela à la fois, sera fait est assez excitant. La présence de textes sentis par affinités sensorielles, personnelles, avec des écrivains non encore classiques, autant de raisons d’apprécier de pénétrer dans cet univers où le conformisme est inexistant.

Christophe Comentale, “Shirley Sharoff, des livres a tenir debout et des estampes a voir aussi”, Art & Métiers du Livre, n°231 (Aout-Septembre 2002), p.63.