Marble-ing in Port Angeles

This time the journey was to Dove Studio in Port Angeles where a group of us played around with marbleizing paper and cloth.  This is a technique I learned from Joan Flasch (the best) in art school years ago.  This technique is like the Fourth of July, full of oohs and aahs.

Marbleizing is a way to put pattern on paper, or fabric (or fingernails or car parts or tennis raquets…).  We limited ourselves to paper and fabric.  What you do is get yourself some thick water and float some paints on the surface.  Mess with it and then drop your item on top of it – gently.

Here is Pamela  placing drops of acrylic paint on the surface.

Pamela Hastings
Pamela applies drops of paint to the water (sized with carageenan) and watches it spread.


Then she makes patterns in the paint.

Pamela Hastings

The room sucks in its collective breath.

You can see the images enlarged by clicking on them.
Katie Yeager
One of Katie’s works captured on Masa.

After a couple of hours of too much fun:

the usual suspects
Katie Yeager, Pamela Hastings, artist Francesca Cameron visiting from Portland, and Diane Williams

Everything a girl (or a cat) could want (notice the wine which Diane thought we might need) in the Wildcard’s Picking Parlour.

When everybody went home, Oola and I gathered up the leftover materials and played into the very small hours.



Murdock Beach

Did you ever see a round rock?  Not round 2D like a pancake. Round 3D like a perfect sphere.  Well I hadn’t,  so I was intrigued when some friends told me about a beach where you can find them.  So was Oola.

The place is Murdock Beach, (sometimes known as Round Rock Beach) off of Hwy 112, down a rough dirt/mud road to the Strait of Juan de Fuca. Being that Oola and I are novices, my friends kindly showered us with examples.

Murdock Beach on a brighter day, minus tide
Murdock Beach on a bright day with a minus tide and with Vancouver Island in the distance

Here is a “round rock”.

spherical rock

It is called a “concretion” or a “nodule”. What happened is when a marine critter died, something about it created a chemical reaction in the mud surrounding its remains and the mud hardened.  There is a fossilized sea creature inside this rock.  Here is a youtube video to explain the phenomenon better.

My friend artist/quiltmaker Diane Williams found this one.

Concretion inside a matrix
Concretion inside a matrix
Artist and teacher, Diane Williams
Artist and teacher, Diane Williams.  She also organizes the art shows for the Library in Port Angeles.

You can see that if you take the spherical part from the matrix, you would have something that looks like a pitted avocado.  And that is what Pamela Hastings showed me, along with something that was created by a creature with different ambitions.

Pamela Hastings
Artist, Doll Maker, Pamela Hastings


That rock on the left would make a great head for one of her dolls.

Actor and sometimes teacher in musical theater at Cornish (and Pamela’s little bro), Hugh Hastings  found these.

Hugh Hastings
Hugh Hastings

There are more stones that look like “hot dogs in a bun” that hold fossilized items such as reeds.

fossilized reeds

My new friend, artist Katie Yeager found these spheres.

Katie Yeager
Katie Yeager

Then a few minutes later she displayed these with an explanation:murdock6

Here we have two balls, a tit, a penis circumcised and a penis uncircumcised.  (What is art without sex?  Nothing, I tell you, Nothing!)

Sound of throat clearing — Oola and I love rocks that have messages or drawings on/in them.  She found these strange drawings all over the place.

linear drawing on rocks
linear drawing on rocks

We didn’t find any pictures of Jesus’ face but this reminded me a little of octopus paintings from Minoan Crete.

snail trails on stones
Drawing of an Octopus?

If you click on the image to enlarge it, you may even see the artists!

BTY.  Murdock Beach is part of the Department of Natural Resources (DNR).  A sign indicates that rocks are catch and release.

PS Warning, the dirt/mud road contains surprise whoop-dee-doos, so unless you have a FWD, take is slow.  Take it slow anyway, and enjoy!

going home

PPS Warning.  Check your tide chart or wear your Wellingtons.  There is no beach at high tide.

Hinges and Collapsible Structures

Helen Hiebert
Helen Hiebert

Last week Oola and I made the trip to Tacoma to take the workshop Collapsible/Flexible Book Structures:  Paper Balloons, Tubes & Vessels with Helen Hiebert.

inflatable ball construction by Helen Hiebert
Inflatable balloon construction by Helen Hiebert

Creative chaos reigned for two days.  (You can view enlargements of the images by clicking on them.)

Oola photographing

Oola was in her element as was Bonnie Egbert, pictured in the background.

Elizabeth Walsh and Carrie
Elizabeth Walsh and Candice Litsey

New friends and connections.


Carrie Larson has the delicate touch to make the collapsible sphere work.  I, however, found myself — shall we say — temperamentally unsuited.  She has a new website not to be missed.


Steel-slinger Shoshona Albright experimented with lace paper.

Victoria Bjorklund
Victoria Bjorklund

In addition to experimenting with translucencies, photographer Victoria gave an impromptu demonstration of Image Transfer using Purell.


Shari Weatherby cutting the balsa for tiny shoji-like screens, and the same Shari experimenting with her eye catching binding.


Lily contemplates the possibilities of weaving and translucency, exacto at the ready.

Linda Marshall
Linda Marshall

Linda and I both ran afoul of Google map directions.  But we were not deterred. is Linda’s brainchild/project/adventure and the home of beautiful Japanese papers.

My favorite technique was this flexible hinge, a little like a Jacob’s Ladder, which makes it possible to present as an accordion screen or as a container.  You just have to keep your wits about you while you do the gluing. It is for sure I will use this on a larger project.

Beautiful variants on the inflatible balloon technique.  Oola says I have to get my act together and try this again!

Northern HWY 101

Mother Killdeer on her four eggs
Mother Killdeer on her four eggs

There is city park in Port Angeles where HWY 101 (under the guise of Front St.) runs by Wildcard Guitars and Dove Studio.  Each evening for the past couple of weeks I have been checking in on Mother Killdeer — much to her consternation I must admit — just to see how she and her 4 eggs are doing.  She and her mate have chosen this spot next to the gravel parking lot and next to this water sprinkler for a nest.  What an eye they have for protective coloration!  She stays so still, you would think the sprinkler would move first.  And the eggs are so big. (and every mother out there says, Ouch! that must have hurt.)

But it is time to go to the SF Bay Area to visit family and do a couple of art errands.  Oola and I will travel on HWY 101 (mostly).  So we say  goodby to the Killdeers and head out early on the next adventure.

On the first morning in the Olympic National Park it looks like

Lake Crescent
Lake Crescent

the lake is having as much trouble waking up as we are.

Ruby Beach, Olympic National Park

The wind picks up, and soon we are on the Pacific Coast.  We make a stop at rugged Ruby Beach where abundant wildflowers are whipped about on the bluff.

A few hours later we are in Cape Disappointment State Park.  It is located where the Columbia River meets at the Pacific Ocean.  And you will remember from your history, this is where Lewis and Clark and company completed their contract.  I wanted to camp where they camped.  And, if signs can be believed, I did.

Cape Disappointment lighthouse
Cape Disappointment lighthouse

It was named Cape Disappointment by an English fur trader/merchant of dubious reputation, John Meares.  There is a wicked sandbar at the mouth of the river.  It looks like the waves are breaking way out in the ocean.  Because of this dangerous feature, Captain Mears could not enter the Columbia River and gave the area this name.  A lighthouse was built on the 200ft bluff to warn other seamen of the danger entering the River.

In 1805 Lewis and Clark showed up and wondered how the peaceful Pacific could be so wild.  They camped here, but the weather was so miserable they relocated to the south side of the River.

Artist Maya Lin started her Confluence Project here.  I stood here maya-lin
to try to understand the geography of the place and to take photos, not realizing the importance of the art I was standing on.

Columbia River, Baker Bay, from the Maya Lin viewing platform

Of course, people come to Cape Disappointment for many reasons.

Oola boogie boarding

This one looked pretty cold and dangerous to me!

Being keen to see family, I decided to cross over to Interstate 5 where we passed this magnificent site:

Mount Shasta

On into California participating in fun-and-death with impatient 18wheelers.  The time saved was much too stressful.


After good family visits it was time to do the errands.  BUY ART SUPPLIES! One of the places on my list was

Dharma Trading Company in San Rafael

the place to find everything needed to add color to fiber.  In my case I needed to pick up a large roll of paper-backed silk for inkjet printing.  When the warp and weft are straight it makes wonderful hangings.  New project in the works…. printing some of my “discovered figures”, photos, and street rubbings on this luscious fabric.  Then doing everything possible to contrast its beauty with violence.  Don’t ask why.  I don’t know yet.

Up the California coast on 101 this time.  Precious stops in Coastal Redwood groves.  I don’t know of anything more quieting than just BEING in a grove of these trees, tallest on the planet.  Something in their bark just seems to neutralize all the poisons.

California Coastal Redwoods
And these are not even old growth!

My sources tell me that Lewis and Clark and Co. did not like fresh fish, like salmon.  Sick of the weather on the north side of the Columbia and sick of being hungry and sick, they took the advice of local Indians who told them that there were elk on the southern shore of the River.  When the weather cleared enough for the company to trust their boats to the waters they came upon herds of this.

Roosevelt Elk stopping traffic.
Municipal Art?

In Crescent City I had to stop the car for this 40 ton concrete work of sculpture.  I had to find out about it.  As it turns out, these “dolosse” are used all over the world to to strengthen breakwaters.  Who knew?  (Mr. Wildcard did.)

Breakwater reinforcement in Cape Town, South Africa

Their name means something like “knuckle bones” in Afrikaans.  They were developed South Africa in the 1960s to protect jetties by dissipating the energy of incoming water rather than blocking it.  Genius.  Does Life imitate Art or what?!


Another “arresting” sight on the side of the road!

Path to the Elwah River and the site of the dam that is no more.

Getting close to home, where it almost always smells like summer camp.

Finally home, and after a hunny smooch, a trip over to check on Ms. Killdeer.  As I suspected might happen, the eggs have hatched.  Three nestlings running about catching bugs, but it seems that a crow made a meal of the fourth.

Three hatchlings.  The twins seem to think they are posing for Diane Arbus.


Northwest River Stones

stonescase3-800photo: Randy Powell

All through the Northwest cold weather I worked on this collection of drawings, photos and assemblages about, to, and for the humble river stone. Like most humans they are abundant and self effacing (with a few notable exceptions!) and their beauty can be quite profound when one takes the energy to really look.

Here are some of my “rock people”.  You can click on the small images to inspect them more closely.

stonebooks3-800photo: Randy Powell

Each of the eleven sub-volumes opens in the manner of a stone rolling downhill and contains a part of my poem “Conversation with Stones” on its last page.  Each has a photo of a stone behind a screen of cut paper.  Each screen reflects something about the four drawings (prismacolor and graphite on black Arches).  Each sub-volume is hand bound in a style which someone may have done somewhere before me, but I suspect I made it up.

stonebooks1-800photo: Randy Powell

Each cover contains a sheet of Mica to look through.  Mica is a rock that separates into thin transparent sheets and breaks into sparkly  bits. In the research for this project I read that  mass burials of local Native Americans from the period of epidemics–brought on by collision with European cultures–are notable for their lack of Mica powder which was sprinkled over individual bodies of the dead in earlier times.



Printed on Asuka paper using an Epson Stylus Pro 9900 and Ultrachrome inks.

The book cloth is an artist-made layering of a loose weave linen on Arches Black (IIYEEEEE!  Hair pulling time!)

Special thanks to Randy Powell — artist, neighbor and a fellow graduate of School of the Art Institute of Chicago — for help with the documentation of this project.

Text of the poem, a slightly condensed version of the poem used in a previous artist book.

you are both the memory of a brook and
a message from the stellar stream.
You are
the life of mountains,
firm, solid air,
rigid wind
and …
you are resistant to authorization.

You are
as unquestionable as wild apples,
as verifiable as the mocking bird,
as indisputable as the moon,
you are undeniably obscure.
You are a history of torrents substantiated by passion,
you are the intent of small nows.
I am heavily seeking your eyes in my dreams.

You are adamantine laughter,
the strong, stony scent of earth
and the unyielding hooves of dreams.
You are a formidable condensation of lizards, grim swallows,
and difficulties of praise.
You are the austerity of stubborn of distance.

You are
the solidified lives of dragonflies,
hardened moss,
compacted fireflies,
a density of stars,
compressed stirrings of fury.
Unbreakable joy,
you are heavily verified
and …
a painfully proven crusher of ships.

You are
inflexible dust and impenetrable musings.
You are thunder from the sierra,
the clatter of the daily grind and the hiss of gradual loss.
Joy … and pain,
you are the waterfall and the river bed,
and the record of a marriage.
You need not speak of past difficulties. They are written on you.

Your language is long and slow. It takes two rocks and a river to say “clack”.
Your language is communal and patient. It takes many rocks and an ocean to say “clatter…hiss”.
I am an impediment to your sequence.

You are
You have journeyed from the center of the earth.
YOU are between the rock and the hard place.

You are all that is durable of dreams.

You are worn out, rounded energy,
sanded intensity,
polished integrity,
eroded ego,
abraded ambition.
You are the crumpler of ecclesiastics
and the one who grinds away the fiction of time.
You are
the sermon of abrasion,
the exhaustion of permissions,
and the diminishment of uniforms.

You say to me,
“I used to be a boulder but now I am a color singing in the river.”
You say,
I am the survivor stone,
the remnant.
You say, “The rock that was rejected by the builder has become the cornerstone.”
You sing how
you once destroyed a monster with a loaf of your bread,
and how you fed a village with a bowl of your soup.
You teach me how to prop open a door.

Music of the commune, you are the cloister stone – river stones and water.
You are a lessening of mountains,
the moments and the ruins of a search.
You cause the loss of rough edges.
“Noli te bastardes carborundorum” say the young. “It has happened” say the rest.

Heavily verified and
painfully proven,
you are a labor of lessening and profoundly wild.
You are the history of friction,
a cascade of attrition,
an abrasion of assurities.
You are the dwindling of certitudes,
the decrease of truisms.
You are the geography of erosion.
You grind down the hard nut.
Wear it down.
Wear it away.
You weather the choices.
You are a distillation of lessons
and a tutor to endurance.
You are the bones of the ridge.

There are two old stones in the shallows. Together they watch over the new generation of salmon.
Cla- -ack
Return to the universe.

Conversation with Stones container closed

Book Arts Guild at Suzzallo Library

Last week Oola and I went to a meeting/show-and-tell at the Book Arts Guild in Seattle.  The meeting itself was held in the amazing building — the Suzzallo Library, University of Washington.

Suzzallo Library, UW after dark
Suzzallo Library, UW

We got there after dark so there are not many picts but you can see more of this architecture, including the part sometimes known as the Harry Potter room, at the University of Washington site.

Oola trying out the Suzzallo Library
Oola trying out the Suzzallo Library

Allow me to say that Book People are the greatest.  Several shared their projects at the meeting.  I can share only a few of them with you.

Here is Don Myhre holding one of his wonderfully hand-crafted, one-of-a-kind books.  This one is made of broken up bits of cell phones.  You can see more of his delightful books at Vamp and Tramp.

Don Myhre

Lisa Hasegawa is a printer with a warm smile and a self-effacing sense of humor.  She runs Ilfant Press in Seattle.

She is part of a postcard exchange with several other letterpress people.  Each member of this group produces a postcard a month to exchange with the others.  Here is a close-up of her postcard about “Lady” problems.

Lisa Hasegawa's postcard

On Lisa’s wrist is tattooed the word “printer” — upside down and backward, of course!  A little joke for those of us who have had the thrill of setting type.

Carl Youngmann and Ellie Matthews run the The North Press in Port Townsend,WA. They brought some exquisite typeset projects.

Here is an image they showed from one of their projects.

Han-Shan #82
Han-Shan #82

Anjani Millet talked about her artist book that jumped right into my heart.

Anjani with her 5.7.9 The Housethief
Anjani with her 5.7.9 The Housethief

Anjani Miller's 579 The Housethief

This is the story of Anjani’s mother and a battle with Alzheimer’s.  When they moved mother from her beloved home and the black mold that inhabited that house her memory got better and she was un-diagnosed from Alzheimer’s disease.

Photo by Anjani, borrowed from her website.  Your eyes and your spirit will be greatly rewarded when you visit

Michael Sobel showed a book of photographs he took in 1969.

Michael Sohel
Michael Sobel
one page from Michael's book of photographs
One page from Michael’s book of photographs, printed as digital inkjet images.  Really nice photo, Michael.  Where is your website so we can see more? Or did I get your name wrong?

Ed Marquand brought some high powered volumes designed and produced for museums, publishers, artists, and collectors by Lucia/Marquand in Seattle.   Check him out to see some top notch work.

Ed Marquand of Tieton, WA
Ed Marquand

Ed is also one of the instigators of “Mighty Tieton”, an arts incubator in the town of Tieton WA.

Claudia Hollander-Lucas, educator, visual artist and writer brought her Vade Mecum rant book.  An eye popper filled with time holes and textual atmosphere.

Claudia Hollander Lucas
Claudia Hollander Lucas

Susan Callan brought books of paste paper and talked “how-to” using paste and water media.

Susan Callan

Susan talking about paste paper

It seems to be very strong. And it looks a lot like too-much-fun.  Oola and I will give it a try.

Much more was shared but either my photos were no good, or my memory is faulty, or I am just running out of time.

I want to thank Susan Brown, whose book is her masters thesis, full of fascinating stuff about urban planning, “vital text” in petroglyphs and on gravestones, Queen Victoria of Seattle, the role of the UK in the evolution of the Northwest, and finally my better understanding of why people are so respectful and helpful, at least where I live on the peninsula.  I thought it was the influence of the Canadians, and it seems that I am maybe at least partially correct.

I also want to thank Lisa Leong Tsang calligrapher/anaplastologist.

Lisa Leong Tsang
Image borrowed from Out of the Silence exhibit

A quote from another one of her works fell into my notes:

To live a creative life we must lose our fear of being wrong.

Book people are good, strong, and surprising people.  I am so happy to be meeting this community in my new digs on the planet.


Trip to Bellingham and the Whatcom Museum, Part two

There are as many ways to define Artist Books as there are people (artists, curators, collectors, critics, librarians, lovers of art…) involved in the Artist Book phenomenon.  Rules — there are probably a lot fewer rules than there are definitions because frankly, my dear, the artists don’t give a damn.  Sandra Kroupa, Book Arts & Rare Book Curator at the University of Washington, said in her lecture — “Breaking Boundaries: the Hand as the Cutting Edge of the Mind” — that she refuses to define “Artist Books”.  Smart lady.

The current show at the Whatcom Museum “Unhinged, Book Art on the Cutting Edge” is a curatorial effort to demonstrate the wide variety of approaches to making Artist Books.  Now one good thing about this show is that it is in a museum, giving gravitas and credibility to a movement little understood in current culture.  A bad thing about this show is that it is in a museum, with most of its items under vitrines. Only one of the offerings was touchable.  And as Sandra pointed out, most Artist Books are to be interacted with, touched, manipulated in some way.

Casey Curran "Test Drive"
Casey Curran “Test Drive”

To grasp the meaning of Casey’s book, it is essential to turn the crank to activate the waves and the swimming shark.  I love Casey’s wry commentary on our current world: “It’s a big ocean out there, and we should all learn how to play nicely with each other.”  All this overlaid on books on ship protocol and “How to Win Friends and Influence People”.

If you click on the names in the captions, you will be taken to pages that show more of these remarkable works.  If you click on the pictures, you will get enlargements.

A good number of the other books in the show were practically jumping off their perches begging “touch me, turn my pages”.  (Don’t worry, Oola is well trained and she resisted her inclinations.)

Sandra told of her conviction that the books talk to each other.  And that points to one of the beauties of this show: that the works are chosen and arranged so that they can speak in chorus as well as individually.  And the group speak is more that the sum of the parts.  For example,

Sun Young Kang "To Find the One Way" (detail)
Sun Young Kang “To Find the One Way” (detail)
Islam Aly "The Square, Al Midan"
Islam Aly “The Square, Al Midan”

Sun Young Kang’s book/installation begins in the personal — the death of her father.  In what becomes a ritual floating in timeless light and shadow, she uses incense to burn the Korean text (Until we meet again, I will be trying to find the one way) into 1080 small pieces of Okawara paper.

Islam Aly’s work begins in the public and the political, the uprising in Cairo’s Tahrir Square in 2011.  Arabic Kufic script (The People Want to Bring down the Regime) is laser cut into each page and it has a burned look.  There are many more parallels and telling differences.  But take just one metaphor common to both — burning.  It speaks to the intensity of the underlying emotions in each case.  Additionally, in the conversation of the two books we come to hear the individual in the throng that brought down a tyrant, and we consider the universal loss of a parent.  In other words, the two books reinforce each other and lead the viewer to new considerations.

Book artists use a variety of approaches. The most common undertakings are constructing a book and altering or repurposing a book.  But some artists like to just redefine bookness.

Doug Beube "Border Crossing: in the War Room"
Doug Beube “Border Crossing: in the War Room”

In “Border Crossing: in the War Room” Doug Beube has taken pages from an atlas and sewn zippers on them.  Presumably one can adjust the book to many formations.  Further, it is a visual commentary on territorial borders and leads one to thoughts of our current immigration woes.

While Doug is creating his “versatile codex” Susan Porteus is doing something completely else.

Susan Porteus "Gandhi: A Pictorial Biography" "Gandhi on Non-violence" "The Essential Gandhi" "Lead Kindly Light: Gandhi and the Way to Peace"
Susan Porteus “Gandhi: A Pictorial Biography” “Gandhi on Non-violence” “Past Masters: Gandhi” “The Essential Gandhi” “Lead Kindly Light: Gandhi and the Way to Peace”

Susan has taken spinning as the main metaphor in the life and teachings of Gandhi.  Repurposing books about him she has spun their pages into new artist books giving specific form to his work and meditation.

Many book artists use non-traditional materials to construct their ideas.  I saw one book, by Ellen Ziegler, made of tar paper pages. (Wonderful, but too difficult to photograph adequately.  You can see it at her site-link above.)

Donald Glaister "Brooklyn Bridge: A Love Song"
Donald Glaister “Brooklyn Bridge: A Love Song”

Donald Glaister uses a fairly traditional codex form here, but the pages are made of aluminum which gives a special sheen that makes his subject matter sing.  It is visual poetry.

(Parenthetically, I read a pundit who made the rule that artist books need words.  To this both Oola and I say “poof”.  An artist book needs words only if the artist book needs words.)

It is fairly common for book artists to repurpose books into carved and scalpeled  forms.  One robust example in this show is:

Long-Bin Chen "Liszt" from "Portraits of Cultural Icons" series
Long-Bin Chen “Liszt” from “Portraits of Cultural Icons” series

This piece is remarkable for its monumental quality.  My first thoughts went to memories of the marble head of Constantine the Great.  Or Mount Rushmore.  “Liszt” is not that big, but he gives one pause.

Many Artist Book makers use their art to make personal response/public commentary on the state of our world, environmentally, politically, culturally, socially, spiritually.   A beautiful, evocative, sad example of this impulse is:

Rachel Mauser "Mountain Top Removal: The Tragedy of the Holler"
Rachel Mauser “Mountain Top Removal: The Tragedy of the Holler”

She calls it “an elegy for the mountains”.  This book is especially disturbing when you see it lie flat and mimic the ravaged earth.  There is not much more of value that one could say.

One of the qualities I enjoy in Artist Books is the delicious geometry that develops, sometimes purposefully, sometimes just as a part of the process:

Adele Outteridge "Thinking of Sol II: Stuff of Dreams"
Adele Outteridge “Thinking of Sol II: Stuff of Dreams”
Deborah Greenwood "Re-creation"
Deborah Greenwood “Re-creation”

Lest the show get too ponderous, the curators included Deborah Greenwood’s gentle memory of childhood toys and a call to relax and re-create oneself.  To my mind, an Artist Book needs to surprise the viewer.

Indeed, one of the qualities I wanted to see more of in this show is a sense of fun and humor.

Charles Miley "Shock Head Peter"
Charles Miley “Shock Head Peter”

Charle’s one page popups are built on 19th century children’s cautionary tales by Heinrich Hoffmann. They are humorous in an Edward Gorey fashion.  Something that might frighten adults. (I couldn’t find a website for Charles, but the Facebook page which I am almost certain is his, that page has a great collection of visual and verbal commentary on recent terrorism.)

I was delighted to see a work by Lisa Kokin, masterful observer of ludicrous humanity.

Lisa Kokin "Fret"
Lisa Kokin “Fret”
Lisa Kokin "Fret" detail
Lisa Kokin “Fret” detail

“Fret” is from her self-help books series.  It involves book spines sewn into an eye dazzling but comforting quilt.  It is sly humor and double meaning, and a stretching of the bookbinding metaphor.  Both beautiful and surprising, it is an object to contemplate and enjoy.

Circling back around to the idea of books talking to each other.  There is another “quilt” in the show.

Clair Dannenbaum "Coverlet: A Lover's Discourse"
Claire Dannenbaum “Coverlet: A Lover’s Discourse”

Each of the “Coverlet’s” quilt rectangles is made of crumpled pages from Fragments d’un discours amoureaux by Roland Barthes.  Claire’s book evoked my childhood memories of making “leather” by distressing brown grocery bags.  That is the technique she has used to make the coverlet look and feel like flannel.

What is the conversation about between these two quilts?  Maybe it’s for us to lend an ear.

Whatcom Museum
Whatcom Museum, the Light Catcher Building,  street view

I’m always skeptical of the words “cutting edge”.  I feel that if you can see the cutting edge you are viewing it from behind.  It has already passed you by.  But I like the double meaning of “the hand as the cutting edge of the mind”. In any case, the artist book makers are giving us a new venue for visual thought.

The museum is metaphorically on fire.  There is much to mull.  It is time to travel home.

There are 70 spectacular pieces in this show by 61 artists, including most Artist Book luminaries, from around the world.  There was time and space to mention only a few of them in this post.  If you are at all interested in the making of meaning I highly recommend this show.


Until January 3, 2016,  in the Museum’s Lightcatcher Building

250 Flora Street, Bellingham, WA

Wednesday – Sunday, noon5pm;
open Thursday until 8pm; open Saturday at 10am

(360) 778-8930

Members: Free
General: $10
Students/Military(with valid ID)/Seniors (62 +): $8
Children 2-5 years old: $4.50
Children under 2: Free

Every Thursday is $5 admission!

Public art on Flora Street: Weston Lambert “Our Time” granite and glass