Sacred Space (2003)
Sacred Space (2003)
Jeffrey Morin and Steven Ferlauto
Book: Reduction linoleum prints with typographic illustrations using overprinting of letterforms; open spine sewn with brown cord binding; brown cloth-covered boards; title and design on front board; endpapers of handmade paper from Nepal. Book: 6 x 14.25″; 17 leaves.
Chapel kit: Six walls, roof, base. Walls: copper rod skeleton with Okawara rice paper skin covered with a casting resin. Book and kit housed in wooden box. Roof copper-leafed Davey board. Roof forms the tray in which the book rests. Base: Box lid becomes the base for the chapel. Brass holes in the base allow the rods to fit exactly. Print pattern on the base becomes the floor pattern. Box painted with copper leaf. Sculpture base 15.75 x 11.5″, height 12″.
Edition of 35, of which this is #23. Acquired from Vamp & Tramp, 7 February 2021.
Photos of the work: Books On Books Collection.
Jeffrey Morin calls Sacred Space an extension of Steven Ferlauto’s research into the role of geometry in the development of the Roman alphabet. As noted in Ferlauto’s site, this included the works by Fra Luca Pacioli (1509) and Geoffroy Tory(1529). Other works to consider include those by Giovannino de’ Grassi (1390-1405), Felice Feliciano (1463), Damianus Moyllus (1483), Hartmann Schedel (1498-1507), the Newberry Master (after 1498), Sigismondo Fanti (1514), Francesco Torniello (1517), Albrecht Dürer (1525) and Giovan Battisti Verini (1526). Morin and Ferlauto first displayed the artistic result of that research in The Sacred Abecedarium (2000).
To access the source, click here.
But Sacred Space is more than an extension. It is an intimate monument of book art. Made intimate by the content and texture of its book, made more intimate by the viewer’s having to construct the chapel. Made monumental by the echo of typographic history, made more monumental in Galileo Galilei’s echo from its floor: Mathematics is the alphabet with which God has created the universe.
The book “attaches” to the structure in several ways. For its epigraph, the book uses Galilei’s actual words that led to those attributed to him and appearing on the floor of the chapel, and when stored away, the underside of the chapel’s roof serves as storage for the book. Following the epigraph in the book, three passages appear, sharing impressions of three different sacred spaces: William Bunce’s description of a plexiglas hunting shack on an island in a Canadian lake, Thomas Merton’s prayer on the hermitage in Kentucky, and Mother Maria Marthe‘s plan for her “shapel” in Lilies of the Field by William E. Barrett. Three very different sets of words create three very different settings on the common ground of oblong pages of papers made with Siberian iris leaf fiber at the Root River Mill in Wisconsin. Difference and commonality strike a recurring theme that links book and structure.
The book’s description of the shack’s sloping roof and its plexiglas walls echoes but contrasts with the chapel’s sloping roof and translucent panels. A shack (or “shapel”) may differ from a chapel and still have common physical features. The sans serif letters, linocut-printed and jumbled in the book’s gutter, echo but contrast with the serif letters, inkjet-printed and geometrically placed on the panels.
Okawara rice paper attached to the silver-soldered copper frame with epoxy resin created a shallow tray into which polymer coating was poured. In this process, the otherwise flimsy rice paper, which contrasts with the fibrous, opaque handmade paper of the book, assumes a stiff plasticity in common with the shack’s plexiglas and becomes the chapel walls set into brass-lined holes in the wooden base. The roofs may slope in common, but the chapel’s copper-leafed davey board roof contrasts with the shack’s clear one, down which birds skitter when trying to land. Despite its apparent metallic solidity, the chapel roof sits loosely on the front and rear panels, exerting a stabilizing pressure, whereas the shack’s plexiglas roof is fixed to a single roof beam.
The chapel’s structure, its stained-glass-like walls, patterned floor and copper-leafing echo Thomas Merton’s prayer, which is sandwiched between the humorous hunters and Mother Maria Marthe, just as the structure is sandwiched between its shack-like roof and wooden platform. In its text and construction, Sacred Space seems to say sacred spaces occur in the spaces in between — even where letter meets surface.
“Abecedaries I (in progress)“, Books on Books Collection, 31 March 2020.
“Architecture“, Books on Books Collection, 12 November 2018.
“Federico Babina“, Books On Books Collection, 20 April 2021.
“Antonio Basoli“, Books On Books Collection, 20 April 2021.
“Antonio & Giovanni Battista de Pian“, Books On Books Collection, 20 April 2021.
“Richard Niessen“, Books On Books Collection, 20 April 2021.
“Paul Noble“, Books On Books Collection, 20 April 2021.
“Johann David Steingruber“, Books On Books Collection, 20 April 2021.
Barrett, William E. 1962/1985. Lilies of the field. New York: Warner Books.
Bunce, William. n.d. Description provided to Caren Heft (Root River Mill). “Sacred Space“, sailorBOYpress. Accessed 10 March 2021.
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