City Shields, 20th Anniversary

I am pleased to introduce the successful completion of a 20-year obsession of photographing manhole covers — the 20th Anniversary Edition of City Shields. Just in time to celebrate my birthday at the end of the month. Moreover, November is the month the project was conceived way back in 1999 after a September trip to Scotland with my husband.

This celebratory edition began in June 2017 and accurately represents the creative exploration of geographic locations along ongoing travels between 2017 and 2020.

© 2020 Louise Levergneux. The cover of the 20th Anniversary Edition of City Shields.

© 2020 Louise Levergneux. The 20th Anniversary Edition of City Shields contains 84 die-cut manhole cover photos; two meandering books (French and English); three inserts and six die-cut manhole covers from past volumes.

© 2020 Louise Levergneux. The reading experience of this concluding volume is produced through a meandering book (French and English version), and the sensory touch and photographic details of each manhole cover. The distinct images and text weave the story of my obsessive collecting and the series’ progress.

© 2020 Louise Levergneux. 20th Anniversary Edition of City Shields.

A Short History of City Shields:

In the fall of 1999, a manhole cover piqued my curiosity while on vacation in Scotland. Observing how these manhole covers were different from those back home, they continued to fascinate me. 

Archiving remains a topic in my art work and has been presented in various ways. The collection of manhole covers offered me a novel approach on the theme of autobiography. Photographing only those manhole covers I encountered maintained the autobiographical theme of my artwork in proper perspective.

Between 1999 and 2015, I eagerly photographed over thousands of photos from Arizona, Arkansas, Colorado, Idaho, Illinois, Iowa, Kentucky, Maine, Minnesota, Montana, Nebraska, Nevada, New Mexico, New York, North and South Dakota, Ohio, Oklahoma, Ontario, Pennsylvania, Québec, Tennessee, Texas, Utah, Virginia, Washington DC, West Virginia, Wisconsin, and Wyoming.

Manhole covers continued to define fascinating exploration of geographical locations along my own life journey. A cross country trip in 2016, provided an excuse to include distinct cities of Canadian provinces, from British Columbia, Alberta, Saskatchewan, Manitoba and more volumes of Ontario.

The Design of City Shields Through The Years:

During this extensive on-going project, it was my goal to keep the exact same look and feel for each volume. It was not easy task, as cameras, printers, and papers all evolved through the years.

© 2020 Michael Sutton. Working on the 20th Anniversary Edition of City Shields, using Photoshop.

One thing that was constant was the workflow, all volumes of City Shields were designed and produced in Photoshop using the same template with small increments of change. Of course, not the same version of the software! Each volume throughout the years was boxed in a clear transparent Zip Drive jewel case, which I purchased thousands back in 2000.

In addition I used Adobe PageMaker then InDesign with Arial Narrow and Futura fonts for the insert; Poiret One font was added to the anniversary edition. All volumes are unsigned except the anniversary edition. The series is unnumbered.

© 2000 Louise Levergneux. The original 7 volumes printed with a DC100 printer on Ivolaser paper in an edition of 100. The 18 manhole covers photos included were die-cut by Capitol Box of Ottawa, Ontario, Canada.

© 2016 Louise Levergneux. Since 2006, all volumes have been an edition of 25 copies which has included 21 manhole cover photos. I published the volumes on Generation G-Chrome Lustre paper (manhole covers), Aspen Dual Sided Matte and Lasal Papers (inserts) for more control of colours and details.

© 2020 Louise Levergneux. The anniversary edition contains 84 unbound die-cut manhole covers printed with my indispensable Epson Stylus Photo R3000. The edition contains a meander accordion book with text and photos painstakingly printed on Inkpress paper. A number of duplicate manhole covers and inserts from the past volumes are included. The whole is inserted in a two inch deep transparent acrylic box.

Twenty Years of Capturing Photos of Manhole Covers: 

I began the unique adventure with a strange and new (for 1999) Nikon CP-950 digital camera and a Nikon Coolpix 5900 in 2000. I also photographed with a Canon PowerShot A710. In 2012, the investment of a Sony Alpha 33 D-SLR, my first digital single-lens reflex camera, naturally inspired me. The 20th Anniversary Edition of City Shields was captured with my most recent digital camera — a Sony Alpha 6000.

© 2018 Louise Levergneux. Photo of a manhole cover celebrating Circleville, Ohio’s 100th Anniversary of its Pumpkin Show. This photo is part of the 20th Anniversary Edition of City Shields.

© 2019 Louise Levergneux. Photo of a manhole cover in Los Ebanos, Texas, right on the border of Mexico. This photo is part of the 20th Anniversary Edition of City Shields.

© 2020 Louise Levergneux. Detail of the 20th Anniversary Edition depicting a manhole cover of St Petersburg, Florida. Photo was taken in January 2019.

What I Observed While Producing City Shields:

• I uncovered the intrigue and fascination provided by these everyday infrastructures;

• I grasped the rapid transformation of cameras, printers, and papers into current pieces of technology;

• I learnt the practicality of artists when developing their designs capturing the history or the resources of a city;

• I established contacts with artists who seamlessly integrated the theme of manhole covers in their work; and finally

• I discovered many people were fanatics about unique designs of manhole covers.

© 2020 Louise Levergneux. More detailed manhole covers from the 20th Anniversary Edition of City Shields.

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With this significant accomplishment completed, I now can concentrate on another unfinished project — Surveillance.

Confined in Arizona

I hope you are all safe and taking this self-isolation time to keep busy so doldrums don’t become the new normal. 

For me, social distancing means no studio visits, I do miss the physical interaction with artists in their private atelier. Strategically planning these impressive outings throughout the year was a lovely diversion during my continuous travels. Talking and sharing ideas with artists paved the way for brainstorming on new concepts. I undoubtedly gained in depth knowledge on binding, which could be applied in my new artists’ books.

My only communication these days, like most of you, is by virtual contact between family and friends. Some of us share “happy hour”, converse our quest for life’s journey and most important knowing everyone is safe and well.

© 2020 Louise Levergneux. An Argentine Giant Cactus in bloom at the Fiesta Grande RV Resort in Casa Grande, Arizona.

In late March, with the shelter-in-place directive, we got grounded in Casa Grande, Arizona. The southwest is not a bad area to be stuck in, with it’s sunshine and blooming cacti. But, by the end of April, severe temperatures reached 107° F. It is getting HOT, HOT, HOT!

Shelter-in-place has given me the opportunity to start working on different projects. Meticulously planning my concepts, printing the visuals, writing statements, and studying Photoshop in more detail... 

© 2020 Louise Levergneux. Working on my 20th Anniversary cover for City Shields. Already 20 years has passed since the beginning of my on-going projet of manhole covers. WOW!

I’m making headway with the 20th Anniversary booklet of City Shields. One can’t wield a mighty hammer to pierce a small hole! — I’m frustrated at trying to use the necessary software rarely utilized in the past year.

© 2020 Louise Levergneux. The cover for City Shields’ 20th Anniversary package edition in progress. This is the first draft, the design may change as the work progresses.

We often swear at the technology in our possession but in these uncertain times, the internet has proven to be a valuable tool. I sincerely appreciate the social contact with all of you through private emails or communications received by the BookListServ though not as many as before the pandemic. Listening to Helen Hiebert podcasts brings a sense of closeness. The informative videos of John Cutrone, Book Arts 101: Home Edition takes us on different journeys. Different blog posts like the familiar one from Catherine Miller and Guylaine Couture naturally prompt me to smile as I have visited both artists. Many sincere thanks for your continual dialogue during our social isolation. 

These digital dialogues expand opportunities for me to receive information on newly completed artwork or work in progress from many artists. You could say that these are my new virtual studio visits. I joyfully received this artist statement from Jim Jenkins of Illinois. Jim is conscientiously working on a wordsculpture and transmitted it for review and comment. Between his first email and now, he has undoubtedly gone through additional re-crafting as we all do at the early stages of creative production.

After the clever piece had stirred up a bit more in Jim’s active mind, I received a shortened version of his statement for Cosmic Clockwork Comet and some images of the final artwork to present to my readers.

It has been said that time is an event more than anything else. We remember events, we usually don’t remember time passing as in the ticking of a clock. We usually don’t remember our hours of uneventful boredom unless we find some important thought momentarily hidden and then revealed within our boredom. Perhaps, this is when and how the sculpture began. Halley’s Comet and the fact that it is periodic and only visible to us every 75-76 years; provides a beginning, which in and of itself, is an event. The comet is on a far reaching elliptical orbit, a self-referential timed event, chronicled historically, beginning in 239 BCE in China. Mark Twain who was born and raised very near Quincy famously said that he was born on the arrival of Halley’s Comet in 1835 but would probably not be on Earth to witness the return. This proved to be true as he did pass away within the year of the return. Our perception of all things is contingent upon our ability to see, our individual vision. Things that are unseen or left out are many times as valuable to our understanding as what is visible. Some objects mirror other objects within our field of vision. An object like the comet is only occasionally visible. That doesn’t mean that it isn’t there it just means we lack the long range vision to see it. We do know however, it’s out there physically but imperceptible. I’ve incorporated two purposeful dates into the sculpture: 2020 the year of the placement of the sculpture and 2061 the return date of the comet. The students attending Quincy Junior High School today may very well see the return of Halley’s Comet, it’s unlikely I will. This will give me and Mark Twain something in common. What the world will look like in 41 years is of course unknowable and un-seeable today. This is at the core of the sculpture. The seen and the unseen, the thing and the no-thing.

J. Jenkins © 04.17.2020

© 2020 Jim Jenkins. COSMIC CLOCKWORK COMET by Jim Jenkins for Quincy Junior High School “Celebration of Education Sculpture Series.”

© 2020 Jim Jenkins. COSMIC CLOCKWORK COMET by Jim Jenkins, funded by The Moorman Foundation & Arts Quincy.

© 2020 Jim Jenkins. COSMIC CLOCKWORK COMET, drawing by Jim Jenkins.

As we all continue to self-Isolate, remember that communication with others via digital dialogue helps us to be together alone. STAY WELL! 

© 2020 Louise Levergneux. Beauty is everywhere. First Light, Hybrid Torch Cactus in Casa Grande, Arizona.

Obsession

I'm traveling to Austin, Texas, this week to work with another artist in the development of electronic interfaces for my next artist book with a working title of Surveillance. One of the specific things missing for me while traveling is the time to preoccupy myself over necessary details of a developing project. There is absolutely no time frame to be obsessive about anything on the road. Therefore, I’m looking forward to this interaction to stimulate me to re-create good studio habits and the passion for particular subject matters.

Developing and realizing a creative idea, for me, usually takes a degree of obsession. I suppose most artists choose to be engaged with compelling and motivating ideas to the point of being enthusiastic.

© 2018 Louise Levergneux. Manhole cover in Tucson, Arizona.

© 2018 Louise Levergneux. Manhole cover in Orlando, Florida.

© 2019 Louise Levergneux. Manhole cover in St Petersburg, Florida.

The allotted span of time it takes to wear the different hats (artist, creator, researcher, administrator, distributor...) does not leave much time for the creation — the fun part. However, I have not found the occasion to establish brief periods in my studio space and relate and connect to different subject matters. Traveling denies me the concentration time and fun of merely sitting in my space to reflect and work with my thoughts. Most of my time is taken by day-to-day activities of living and moving from one place to another. Traveling brings new ideas, but as a full-time traveler, shopping lists, balancing accounts, preparing meals, and... Life often takes over!

© 2018 Louise Levergneux. Manhole cover in Orlando, Florida.

© 2018 Louise Levergneux. Manhole cover in St Augustine, Florida.

Yet, an idea might never leave your thoughts, and the obsession continues. Back in 1999, on a Scotland trip, when my project City Shields began, I collected many hundreds of images of manhole covers. I never thought 20 years later I would still be obsessed in photographing an interestingly designed manhole cover I happened to find during my walks.

© 2018 Louise Levergneux. Manhole cover in Baton Rouge, Louisiana.

© 2018 Louise Levergneux. Manhole cover in Circleville, Ohio.

This might be a excellent example of a primal acquisitive urge — I built a whole project out of this creative fascination of photographing manhole covers. The collection continues, but the project came to an end when the jewel cases that contain the die-cut photos of manhole covers were no longer available. Being picky about how the project would be presented, I felt the need to maintain the same packaging because it was essential to the idea of City Shields.

© 2018 Louise Levergneux. Manhole cover in Tulsa, Oklahoma.

So, as I travel, I’m often caught searching the streets for the next beautiful manhole cover. The need to take the camera out and shoot yet another manhole cover cannot be denied! The obsession is still alive. What do I do with the multiple photos of manhole covers I’ve taken through my journey. Create an ebook, an on-demand book, an artists’ book...??? What obsesses me as an artist can enrich the viewer to interpret my work.

My critical questions are:

How do I inject passion into my work while traveling?

In a hectic lifestyle, through what force does one find time to create?

By what means do I create a studio space to bring thoughts to completion?

How does one balance the administration versus the creative side of art work?

Any ideas?

© 2017 Louise Levergneux. Manhole cover in Austin, Texas.

© 2018 Louise Levergneux. Manhole cover in Sugar House, Salt Lake City, Utah.

© 2012 Louise Levergneux. Manhole cover in Albuquerque, New Mexico.

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Minneapolis, Minnesota

Five years ago on my way back home, I visited Minneapolis, Minnesota. At the time Jeff Rathermel was Executive Director of the Minnesota Center for Book Arts in Minneapolis. I took the time to drop by and view the exhibition Directed: The Intersection of Book, Film and Visual Narrative exhibition. I was pleased to participate with my artists’ book Decades Apart in this juried exhibition. Jeff was kind in showing me around the show and the MCBA.

© 2012 Louise Levergneux. Decades Apart

With no knowledge at the time that Kate Burke — a Minneapolis artist who has a recognized career in both public art and painting — was chosen to design manhole covers for the Nicollet Mall in the city.

The Nicollet Mall underwent a redesign by James Corner, designer of the High Line in NYC in 2017. The original manhole covers installed in 1992 were removed, cleaned and reinstalled. Nicollet Mall is comprised of 75 covers with eleven unique designs each cast seven times. The new concrete walkway has an etched leaf, branch and a basket weave design. This is the new home of the manhole covers.

To my surprise, while researching streets on Google Map for City Shields, an on-going project, I noticed a wonderful manhole cover. What dismay! I had overlooked the opportunity to photograph some of the most uniquely designed covers for my series. I was devastated! Researching till I discovered the name of the artist and communicated with Kate Burke and later featured her work on one of my blog posts. It’s been a year ago almost to the day. I visited Minneapolis at the end of September 2018 and walked Nicollet Mall to find most of the manhole covers designed by Kate. I was thrilled! I photographed in late afternoon while walking in the drizzle most of the 13 blocks of Nicollet Mall.

© 2018 Louise Levergneux. Haralson Apples, manhole cover on Nicollet Mall, designed by Kate Burke.

© 2018 Louise Levergneux. The Loon, manhole cover on Nicollet Mall, designed by Kate Burke.

© 2018 Louise Levergneux. Northern Pike, manhole cover on Nicollet Mall, designed by Kate Burke.

© 2018 Louise Levergneux. Lady Slippers, manhole cover on Nicollet Mall, designed by Kate Burke.

© 2018 Louise Levergneux. Wild Rice, manhole cover on Nicollet Mall, designed by Kate Burke.

© 2018 Louise Levergneux. Corn, manhole cover on Nicollet Mall, designed by Kate Burke.

© 2018 Louise Levergneux. Oats, manhole cover on Nicollet Mall, designed by Kate Burke.

© 2018 Louise Levergneux. Norway Pine, manhole cover on Nicollet Mall, designed by Kate Burke.

© 2018 Louise Levergneux. The Walleye, manhole cover on Nicollet Mall, designed by Kate Burke.

© 2018 Louise Levergneux. Wheat, manhole cover on Nicollet Mall, designed by Kate Burke.

© 2018 Louise Levergneux. The Timber Wolf, manhole cover on Nicollet Mall, designed by Kate Burke.

©2018 Michael Sutton. Walking over the famous Walleye on the sidewalks of Nicollet Mall on September 27, 2018.

© 2018 Kate Burke. Norway PIne, manhole cover, when it was first installed, designed by Kate Burke.

© 2018 Kate Burke. Oats, manhole cover when it was first install, designed by Kate Burke.

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Have you seen a unique manhole cover lately? If so, where?

Another volume? Not sure, I have other projects I would like to accomplish, but one never knows.

Book Arts Collection in Texas

As I travel, my on-going goal is to promote my artists' books. After a few emails to book arts collections in Texas, I scheduled two appointments.

My first rendez-vous was with Shā Towers, Curator of the Book Arts Collection, Art Liaison Librarian, and Associate Director of the Central Libraries at Baylor University. Since 2007, the artists’ book collection of The Crouch Fine Arts Library has grown to over 800 works representing many artists and presses. The collection functions as a teaching collection for both studio artists working in the medium and various disciplines outside the arts. The collection includes a wide-ranging representation of everything from single-page constructions, complex forms, sculptural book-works, fine press, letterpress, photography, handmade papers, textiles, collaborative works, and more.

© 2017 Louise Levergneux, the Jesse H Jones Library, one of the central libraries at Baylor University in Waco, Texas

© 2017 Louise Levergneux, the Jesse H Jones Library entrance to a very friendly staff

I arrived in Waco, had a pleasant visit and exchange on the Library collection with Shā. Following my artists' books presentation, I left re-energized. It’s nice to talk with someone who has an understanding, interest and creates artists' books.

I'm thrilled to say my artists’ books: Conversation, Decades Apart, Traverse, the Texas and New Mexico volumes of City Shields, are now part of the Crouch Fine Arts Library.

© 2016 Louise Levergneux, Conversation

© 2015 Louise Levergneux, Traverse

© 2012 Louise Levergneux, Decades Apart

© 2006 Louise Levergneux, City Shields, New Mexico volume

© 2017 Louise Levergneux, door in downtown Waco, Texas

My second consultation was with Rebecca Pad, Humanities Liaison Librarian for the Fine Arts Library at the University of Texas.

© 2017 Louise Levergneux, Oak trees around the Doty Fine Arts Building 

Examples of Artists' Books can be found in Libraries and Art Collections across the University campus. The artists' books in these collections contain illustrations by artists, livres d'artistes, multiple-copied and inexpensive produced booklets, limited-edition, and handcrafted books.

Rebecca Pad, three other colleagues and I sat and reviewed my books. I took pleasure in seeing my ideas and concepts experienced with amusement. I’m fond of bringing a smile to the reader, part of my artistic statement and philosophy behind my work.

At the end of our session, the Fine Arts Library acquired Ambivalence, a flip book from the Outside of the Studio series entitled Earth.20 and my last published book Shadow Me.

© 2010 Louise Levergneux, Ambivalence

© 2012 Louise Levergneux, Earth.20 from the Outside the Studio Series

© 2017 Louise Levergneux, Shadow Me

Shadow Me is a documentary that exemplifies solitary moments after the loss of unconditional love of a devoted companion. Rebecca was touched by this book, I’m glad it's now part of the collection.

In the past, I wasn’t keen on talking about my work, but Texans have a way of welcoming you, what can I say Y'all made me feel at home!

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Kansas

Every year, I cross the country via different highways depending on visits to friends and family. The goal of this eastward trip was a visit to my friend, Dana in Nashville, Tennessee, a conference Michael was taking part in Washington, and visiting artists. 

As we crossed Kansas, un séjour in Dodge City was in order. In Dodge City, like most tourists, I followed the Trail of Fame that leads you through the downtown? Twenty-nine bronze medallions and markers are found and comprise citizens who believe in the community. My collection of manhole covers came to mind. What could I do with my series, my collection? How do I continue the project, or do I?

The images below resurrected my project City Shields for a day.

© 2017 Louise Levergneux, Trail of Fame, Dodge City, Kansas

© 2017 Louise Levergneux, Trail of Fame, Dodge City, Kansas

© 2017 Louise Levergneux, Trail of Fame, Dodge City, Kansas

© 2017 Louise Levergneux, Trail of Fame, Dodge City, Kansas

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The action of collecting becomes an obsession for artists. Often the attraction to particular items grows parallel to our work. I found another artist who has a compulsion to remember and to be remembered by way of collecting.

Monica Holtsclaw is a book artist, quilter, and sewer of many things. Monica spends most days in her studio in San Rafael, CA, and also teaches at the San Francisco Center for the Book. Find out the dates of Monica's workshops by visiting her calendar page.

Monica’s artists’ book Memory Palace was insightful. The patience to wait and collect to create a book many years later is admirable.

The pages of Memory Palace are a storage place for a range of tokens representing experiences I saved over the last twenty years. In this way it is a vessel, holding objects I can retrieve at any time to awaken memories temporarily forgotten. Codified by color and arranged chronologically, each item signifies a particular time and place. The structure was chosen because of its resemblance to a series of rooms. A memory palace is a mnemonic device which helps a person to catalog and retrieve information. The creation of Memory Palace has allowed me to transform this mnemonic device into physical reality.

© 2015 Monica Holtsclaw, Memory Palace, 8 x 8 x 1.5 inches (closed)

© 2015 Monica Holtsclaw, Memory Palace, digital prints on 90lb watercolour paper, Iris book-cloth over binder’s board, foil stamped title

Another edition in the same genre is Monica’s Moving Forward created for the 2015 Hello Hedi Exhibition at 23 Sandy Gallery in Portland. 

I watched an interview with Hedi Kyle, in which she spoke about her background and gave a tour of her studio. It was a delight to see the objects and structures that influence her, and I saw many of my own interests reflected in what she shared. I found that Hedi is an inspiring collector. I have saved ephemera for years and have been reflecting on what I have saved and have been making work around the theme of these tokens of my past. For this book, I focused on my collection of ground transportation tickets, acquired from 2002 to 2014. I chose Hedi’s Crown Book structure because of the movement of the binding as it opens and its resemblance to spokes of a wheel. 

© 2015 Monica Holtsclaw, Moving Forward, 6.125 x 6.25 x .5 inches

© 2015 Monica Holtsclaw, Moving Forward, digital prints on 90lb watercolor paper, Yupo watercolor paper, Fabriano Tiziano paper

© 2015 Monica Holtsclaw, Moving Forward

Read what Monica has to say in her own blog posts.

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Next stop Tulsa, Oklahoma, what will I find? What will inspire my traveling studio?

Tasks...

Tasks at hand this week in my 1/2 Measure Studio... 

The gallery walls of Ming Studios are freshly painted and the pedestals are more or less prepared.

© 2017 Louise Levergneux, Ming Studio Space

© 2017 Louise Levergneux, Ming Studio, pedestals being painted

I finished the volumes of City Shields, had a couple of boo-boos, re-print time!

© 2017 Louise Levergneux, City Shields oops!

Spent three days in Salt Lake City for business and pleasure. Taking some time off to relax.

© 2017 Louise Levergneux, hiking in the Dimple Dell Gully Trailhead in Sandy, Utah

Received my prints from WhiteWall Photo Lab in Germany. They look great, it’s nice to see the pages of my artists' books in large format.

© 2017 Louise Levergneux, prints for the show

I cataloged my books for the exhibition and I’m anticipating the big event at Ming Studios.

© 2017 Louise Levergneux, six artists' books plus 78 volumes of City Sheilds

Thinking of submitting to the MCBA Prize—an international artists’ book award. Here are the links for the submission guidelines and the Book Art Biennial. Good luck to all who submit!

Drafting text for a grant, eager for newer and better equipment.

Twittered for the first time!! 

An interesting and busy week filled with preparations.

Last, but not least, excited to finish a prototype of a recently developed artists' book. Will take photos next week.

Planning...

My first week of residency behind me, I’m contemplating the space, the books, the projection of images... 

© 2017 Louise Levergneux, Ming Studios in preparation for my residency

© 2017 Louise Levergneux, Ming Studios in preparation for my residency

There are many details and it’s not a good idea to keep details and lists only in one’s mind. Notes, many notes, are required when creating an on-going project or any edition. These instructions are important to keep around for future reference. Writing details, such as the type of paper, colours used in Photoshop, set-up of jigs, binding... because you will forget! I don’t care how young you are! I’m happy to create an edition at once, but when low on cash, printing when needed is the best way to go, and it creates less inventory.

After answering many emails and particulars for the show at Ming Studios, I took the time to finish another volume of City Shields—Illinois Vol US7 No2. 

© 2017 Louise Levergneux, City Shields—Illinois Vol US No2

When I started the project, each volume contained 18 manhole covers. Since 2006, I print and die-cut the manhole covers myself. With thinner paper, I added three more manhole covers to a volume. More manhole covers the better? Right. Now, I print a volume when I receive an order. It has become more complicated to print odd numbers of manhole covers. I could print three sheets of 13 x 19 inches. Voilà, two volumes printed with no math or a headache. With 21 manhole covers, I always have an odd number to keep track of printing without waste. It becomes a guessing game on what manhole covers to print. Aye! The dilemma of an artist! 

Needing a meditation moment, I cleaned my junk. Screw posts anyone? 

© 2017 Louise Levergneux, my many screw-posts

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The National Gallery of Canada Library and Archives and the Centre Canadien d'architecture have purchased these new volumes. The volumes are in the mail today.

© 2017 Louise Levergneux, eleven new volumes of City Shields

A new week begins, must get ready for more conversations and planning. Check it out.