Again and again, Pien Rotterdam’s works — Sea of Things (2014) and Absences (2015) — reward reading and contemplation.

The images of the coral, square, circle and triangle are “pulp printed”, a hybrid silkscreen/papermaking technique, which Rotterdam learned from Tim Mosely. The images themselves are made of fine pulp paper, transferred to, pressed and dried together with the receiving kozo/cotton paper.  Message (or image) and medium are one, a sea around the letterpress text, whose words and acts described harmonize with technique, material, color and shape. Here are “pages” 1 to 5 as a sample.

As with Sea of Things, Rotterdam achieves another singular union of technique and meaning in Absences. Where Sea of Things addresses selecting and collecting, Absences addresses loss, memory and the experience of time.

Rotterdam’s explanation of the connection between technique, material and meaning can hardly be bettered:

When I made my first cyanotype photogram ten years ago, I was immediately struck by the way in which light shapes against a deep-blue ground show, simultaneously and paradoxically, what was there when the paper was exposed but what is now no longer there: the photogram makes absences visible. This realisation has led to an exploration of the metaphorical properties of the cyanotype process and to speculation on the relationship between photography, mementos, and memory, between memory and loss, and on the nature of time, in six brief reflective texts.

Cartographie in Januari (2010)

Cartographie in Januari (2010)
Pien Rotterdam
Pamphlet, modified stub binding, sewn. H160 x W130 mm. 1 folio, 2 panels. Edition of 28, of which this is #18. Acquired from the artist.
Photos: Books On Books Collection.

This year’s lines are still vague, the colors unknown.
Day by day, the year takes shape.
An encounter colors it in, a destination reached, a new word learned.
Only at the end of December do you see the map lying over your shoulder,
which has taken shape behind your back.
You take another good look—here with satisfaction, there with regret—and close the year.

Handmind (2009)

Handmind (2009)
Pien Rotterdam
Pamphlet, stub binding, sewn, printed on abaca, flax & cotton. H202 x W90 mm 2 folios, 4 panels. Text from Ursula K. LeGuin “Always Coming Home”. Limited edition (unknown qty). Acquired from the artist. Photos: Books On Books Collection.

Et in Arcadia (2013)

Et in Arcadia (2013)
Pien Rotterdam
Pamphlet, French fold. H210 x W135 mm. 1 page. Edition of 54, of which this is #41. Acquired from the artist.
Photos: Books On Books Collection.

The chatter of the day has drifted to the edges of the lake and crept up along the ring of bright sand, which still bears traces of everything that went home—with shovels and bags full of bathing gear and sunscreen.
Now little frogs find their way to land, shadows flow slowly in the wind, my head rests in the languid water, time dissolves, returns now—
The heat drifts smoky
into the trees that speak of resin and
autumn that is not far off—but not yet here, not now, in the late light of this day that brings us home and slowly drifts away to the edges of the lake.

Rotterdam’s site rewards repeated visits.  It traces her development as a book artist since 2003 and demonstrates mastery and strength at each stage. Her work can be acquired through the site. Rotterdam lives and works in Groningen, The Netherlands, home to the Book Arts Network, Grid Grafisch Museum and De Ploeg, an artists collective started in the early 20th century.

Further Reading

Hirschey, Paige. 7 December 2023. “Rhapsodies in Blue: Anna Atkins’ Cyanotypes“. The Public Domain Review. Using the cyanotype process, Anna Atkins produced the world’s first photograph album.