Still in Casa Grande, Arizona

After ten weeks of sheltering in place, I'm experiencing the pressure of the unknown. I do humbly admit the effect of teleconferencing is beneficial. My artists’ book entitled “Finding Home” which I created in 2016 comes to mind at this key moment. I feel the need to properly nourish my sense of belonging. I dream of the day when a hug isn’t an imminent threat, and I can visit family, friends and artists studios in real time.

© 2020 Louise Levergneux. In the last month, I’ve continued working on my 20th anniversary volume of City Shields. This is a blast!

The remarkable beauty of the flowering cacti, the forever lasting sunny days and the dry heat of Arizona, is no longer nourishing my creative soul. As a nomad without being able to travel, I’m increasingly feeling trapped in the vehicle meant to liberate me.

© 2020 Louise Levergneux. A Senita Cactus in the heat of Casa Grande, Arizona.

Most of the time it’s peaceful here in Casa Grande. While I’m content to work on my recent artists’ book, creating, researching... Sitting for too long can gnaw at the imaginative mind even if busy with activities one loves.

Covid-19 has undoubtedly affected our humble lives. Artists currently possess extended periods of time to be creative, but our minds are on the uncertainty. We are trying to work and live through these hard times. Ultimately, the crisis has forced its way into our creative work.

Thomas Parker Williams from Pennsylvania has emailed me information on his recent unique artists’ book entitled Pestilence.

Thomas’ conceptual sources include mathematics, music, literature, theology, design, philosophy, astronomy, history, natural sciences, architecture, and Eastern thought. 

© Thomas Parker Williams. Pestilence by Thomas Parker Williams, 12” x 24" x .875” closed.

© Thomas Parker Williams. Pestilence by Thomas Parker Williams, original drawings with dry pigments in alkyd medium, stains, ink and coloured pencil.

© Thomas Parker Williams. Page one of Pestilence by Thomas Parker Williams.

© Thomas Parker Williams. Page three of Pestilence by Thomas Parker Williams.

“Pestilence was drawn during the week of April 13-20, 2020. It is a metaphor for the worsening COVID-19 crisis and the rejection of reality by some in our country. This crisis will change life as we see it. My hope is we will be able to accept the cooperative action needed to survive it.” Thomas Parker Williams

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Another artist — Guylaine Couture — who juggles with the specific ideas she wants to powerfully convey, recently completed a zine entitled “Mes indispensables, pandémie 2020”.

© 2020 Guylaine Couture. My Indispensable, Pandemic 2020, drawings and texts by Guylaine Couture. The zine is folded and cut manually; 16 pages.

© 2020 Louise Levergneux. I received an actual, physical wild pink coloured envelope in my mail box last week, inside I found a copy of “My indispensable.” This little zine brought a smile to my face.

© 2020 Louise Levergneux. Surprise! included in the envelope were a set of three small cards printed manually on recycled paper by Guylaine.

Guylaine enjoys working on subjects that challenge us like cancer, ecology, mourning or the landscape. These subjects depend upon introspection. It is critical for Guylaine to produce each book differently, that the form changes, evolves and adapts to its point of view.

© 2020 Louise Levergneux. Mes indispensables, pandémie 2020 by Guylaine Couture is a single sheet format. 2 ¾ inches x 4 ¼ inches when closed.

© 2020 Louise Levergneux. Mes indispensables, pandémie 2020 by Guylaine Couture is 2 ¾ inches x 4 ¼ inches when closed.

© 2020 Louise Levergneux. Mes indispensables, pandémie 2020 by Guylaine Couture is also available in English.

“Vivre ce moment historique est toute une aventure. Elle est différente pour chacun de nous. Pour ma part, j'ai voulu en témoigner par ce zine sur le sujet. J'y parle de mes (nouvelles) expériences et découvertes.” Guylaine Couture

“Living this historic moment is quite an adventure. It varies for each of us. For my part, I wanted to bear witness to this complex issue with a zine. I talk about my (new) experiences and discoveries.” Guylaine Couture

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On another note, James G. Jenkins’ sculpture provides a theme for both intellectual and visual curiosity. Jim’s work reflects an eclectic and deep understanding of philosophy, spirituality, history, physics and other sciences, and our current societal state. “COST-O-TOM(B), You will feel a slight pressure” presages the current health crisis.

© J. Jenkins 2018. The creation of COST-O-TOM(B), You will feel a slight pressure by Jim Jenkins.

“There are several instruments normally associated with the practice of medicine or health care displayed. Combined in this way it becomes a hyper-anachronistic-allegorical-metaphysicalperplexing-conundrum.

Please note specifically there are no bodily fluids in any sort of suspension. The suspension of disbelief has been removed as well. Perhaps consider that the system has already been sucked dry, the life blood removed with nothing remaining. 

A cast trooper marches steadfastly along a very short plank. Soldiering on without complaint, silent, noble but encouraged to Bite the Bullet should anything untoward happen. The .45 caliber bullet suggests this and is labelled as such. 

A country in distress is symbolically displayed. The parties responsible might be discovered by examining the white paper with words provided with impact. A scalene triangulation suggesting unequal influence is fabricated with a surgical suture suggesting perhaps that we have been stitched up.

The Elephant in the Room remains in a carefully folded origami display concealing what is right in front of our face.” J. Jenkins

© J. Jenkins 2018. “COST-O-TOM(B), You will feel a slight pressure” by Jim Jenkins. Materials: Costotome, hypodermic syringe, distillation glassware, surgical tubing, surgical sutures, test tube, an American flag, sealing wax, peacock feather, gilt frame, aristocratic purple velvet fabric, a .45 caliber bullet, cast trooper, white paper with words typed, brass nameplate, stainless steel angle, flat bar, rod, discs, shredded money, and glass tubing.

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Congratulations to everyoe who is being resourceful in continuing their teachings during these strange times. With many hours, to create, how is your art work progressing?

Texas in November

As I prepared to make my way across Texas in the Fall of 2019, I took the time to communicate with a few university libraries to establish a possible visit. At the beginning of November, after a couple of personalized emails, I received an invitation from Kevin M O’Sullivan, Curator of Rare Books at the Cushing Memorial Library and Archives at Texas A&M University for a tour of their collection. Unfortunately, our travel plans changed, and I couldn’t accept Kevin’s invitation. Maybe, next year.

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A week later, in Denton, I was delighted to visit and present my artists’ books to Kimberly L. Johnson, Director of Special Collections for the Texas Woman’s University Blagg-Huey Library. The Woman's Collection, Artist's Books Collection, with nearly 300 works of art, focuses primarily on photographic book art, either by or about women. The library acquisitions timeframe is April, so, I’m looking forward to the choice of books that might join the Artist's Books Collection in 2020.

© 2019 Louise Levergneux. The Blagg-Huey Library at the Texas Woman’s University.

© 2019 Louise Levergneux. The entrance of the Blagg-Huey Library.

© 2019 Louise Levergneux. The Blagg-Huey Library at the Texas Woman’s University.

© 2019 Louise Levergneux. WASP Memorial Statue – The WASP memorial statue was sculpted by Jewel Estes of Dallas and donated to the Texas Woman’s University Library on April 20, 1995, by the Women Airforce Service Pilots, WWII. The life-size bronze statue commemorating the experience of America’s women pilots of World War II is located on the second floor of the Blagg-Huey Library in the Woman’s Collection.

© 2019 Louise Levergneux. The Blagg-Huey Library, Special Collections’ reception at the Texas Woman’s University.

© 2019 Louise Levergneux. The reading room where I met with Kimberly Johnson.

The Woman’s Collection at the Blagg-Huey Library is the most comprehensive source of research materials on Southern and Southwestern women in the United States and in 1979 was appointed by the Texas legislature as the state’s authentic collection on the history of women and the official archives of the Women Airforce Service Pilots of World War II.

The Mary Evelyn Blagg-Huey Library is a beautiful classical style building with marble floors, chandeliers and stained-glass windows. There are exhibits about the role women have played in history throughout the library. It’s a very warm and inspiring library.

© 2019 Louise Levergneux. Currently, the Woman's Collection features one of the vastest repositories of women in aviation in the world, housing the official collections of Women Airforce Service Pilots of World War II, the Whirly-Girls International Helicopter Pilots, Women Military Aviators, Association of Women Airline Mechanics, International Society of Women Airline Pilots, the Air Race Classic, as well as many of its individual members' collections.

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© 2019 Louise Levergneux. The Peace Library at University of Texas in San Antonio.

© 2019 Louise Levergneux. The grand entrance to the Peace Library at University of Texas in San Antonio.

As November came to an end, I met with Stephanie Noell, the Special Collections Librarian at University of Texas in San Antonio and introduced my artists’ books. Prior to my visit, through our emails, Stephanie outlined some of my publications that were of interest. Four books intrigued her: Finding Home, City Shields, Traverse, and Parade. 

© 2019 Louise Levergneux. Special Collections Reading Room at the University of Texas in San Antonio.

It was an absolute pleasure to connect with Stephanie who was very cordial. I was fascinated by the questions and the reason for her interest in certain artists’ books especially “Perception”. After a marvelous demonstration and conversation, I’m thrilled to announce that my artists’ books Finding Home, City Shields, Parade, and the last copy of Decades Apart, have joined more than 200 artists' books located in the Special Collections Library at UTSA.

© 2016 Louise Levergneux. Finding Home.

© 2010 Louise Levergneux. City Shields, Texas Vol US11: No 1

© 2014 Louise Levergneux. Parade.

© 2012 Louise Levergneux. Decades Apart

The congenial approach at UTSA was apparent in how I was received and how easy it is for researchers to access the library materials through appointments. On my way out of the Reading Room, as we finished our conversation on special collections, my curiosity was sparked by five huge books in an impressive cabinet. I discovered John James Audubon’s pictorial works, The birds of America: from original drawings, (Audubon, J., Lizars, W., & Havell, R. (1985). The birds of America: from original drawings. New York: Abbeville Press). 

© 2019 Louise Levergneux. Standing beside John James Audubon’s The birds of America.

The month of November finished on a high after my artists’ books introduction. Let’s see what Arizona will bring, with its sun and warmth. 

Pennsylvania

My plans for the end of September were to present my artists’ books to libraries in Pennsylvania. 

The first visit was to the Special Collections Research Center of the Charles Library of Temple University in Philadelphia. The library had completely been reconstructed by the AD100 architectural firm Snøhetta. This space echoes Snøhetta’s completed work at the Calgary Library in Alberta, Canada. The Charles Library is filled with a variety of specialized and innovative spaces providing a gateway to Temple’s campus.

© 2019 Michael Grimm. Outside the Charles Library, Temple University, Philadelphia, Pennsylvania.

Standing in front of the Charles Library, I was amazed at the soaring cedar-clad roof that continues throughout the inner atriums. The unique architecture made me pause at the information desk. I was gobsmacked at the building’s unique structure and the number of students engaged in flexible multipurpose rooms, reading areas, and study spaces giving them access to knowledge and technology.

© 2019 Michael Grimm. Inside view of the Charles Library, Temple University.

I was escorted through the « pièce de résistance » — the grand entrance, a three-story, domed atrium to the Special Collection Research Center on the first floor — an inspirational environment. Special Collection Research Center collects, preserves, and makes accessible primary resources and rare or unique materials, to stimulate, enrich, and support research, teaching, learning, and administration at Temple University.

Before entering enthusiastically into my appointment with Margery N. Sly, the librarian in charge of acquiring artists’ books, I spotted an exhibition filled with book arts reflecting the theme of architecture, celebrating the current facilities. I viewed books by Julie Chen, Brian Dettmer, Colette Fu, Malini Gupta, Guy Himber, Emily Martin, Carol Schwartzott, Jana Sim, and Thomas Parker Williams. 

© 2019 Louise Levergneux. Exhibition at the Special Collection Research Center of the Charles Library, Temple University.

© 2019 Louise Levergneux. Ashima by Colette Fu part of the exhibition at the Special Collection Research Center.

© 2019 Louise Levergneux. left: The Gist of Romeo and Julier by Emily Martin, right: A Brief History of the Fan by Carol Schwartzott at the Special Collection Research Center.

© 2019 Louise Levergneux. Language Möbius by Jana Sim at the Special Collection Research Center.

© 2019 Louise Levergneux. Spiral Dome Sculpture in Paper and Steel by Thomas Parker Williams at the Special Collection Research Center.

© 2019 Louise Levergneux. [Material in the tissue spaces] by Brian Dettmer at the Special Collection Research Center.

© 2019 Louise Levergneux. Clock Work Fish by Guy Himber part of the exhibition at the Special Collection Research Center.

© 2019 Louise Levergneux. The Fortune Teller by Malini Gupta at the Special Collection Research Center.

© 2019 Louise Levergneux. Chrysalis by Julie Chen at the Special Collection Research Center.

My experience went beyond my interaction and presentation to Margery; I felt enveloped by art. Margery was a very approachable librarian who expressed considerable interest in artists’ books. I’m thrilled to announce that Finding Home, A Day Filled with Onomatopoeias, and Earth.15 (Outside the Studio) are now part of Special Collections Research Center of the Charles Library of Temple University.

© 2016 Louise Levergneux. Finding Home, a visual narrative on being unsettled in an environment— to find a sense of place, a sense of belonging.

© 2013 Louise Levergneux. A Day Filled with Onomatopoeias (book and audio), is an interactive book based on the word onomatopoeia and it’s definition.

© 2012 Louise Levergneux. Earth.15 part of the series Outside the Studio, a photographic documentation and a study in movement and time featuring the four basic elements published in a weekly edition.

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My subsequent visit was the McCabe Library of Swarthmore College in Swarthmore. Amy McColl, Head of Collections provided explicit instructions to the library making it a pleasant introduction to the campus. Most librarians I have encountered provide a visual characterization of the library; Amy’s description was a fun and surprising one “the building looks sort of like a fortress” she naturally added in her email. At my arrival I was delightfully surprised by the architecture, it does look like a Medieval Castle outside and inside. With great astonishment the building is referred to as “The Cage,” McCabe Library inspires a wide range of feelings among the student body, many of which are far from positive. Though, I enjoyed the cozy feeling of the atrium, its stone walls and dim lighting seemed to set a claustrophobic mood, but the atmosphere does not transfer to the librarians.

© 2019 Louise Levergneux. McCabe Library, Swarthmore College in Swarthmore, Pennsylvania.

© 2019 Louise Levergneux. The main lobby of the McCabe Library, Swarthmore College.

Swarthmore College is home to a vibrant and continually growing collection of contemporary artists' books. The Book Arts and Private Press Collection is committed to the acquisition of fine printing and artists' books and endeavours to represent all aspects of the physical book including bookbinding, typography, letterpress and offset printing, hand paper-making, illustration, and book design.

After a very up-beat dialogue with both Amy and Susan Dreher, my artists’ books Traverse, Parade, and City Shields (Pennsylvania volume) have fortunately found a new home in the Special Collection of the Rare Book Room in McCabe Library. These join four flip books: Air.10, Earth 16, Fire.3, H2O.11 (Outside the Studio) already collected through Vamp and Tramp in 2018.

© 2015 Louise Levergneux. Traverse, a documentation on the artist’s annual trip across the country to her home town of Gatineau, Québec, Canada.

© 2014 Louise Levergneux. Parade, presents the strange and intriguing scene of empty chairs waiting for the owner that will be curb side when the parade begins.

© 2008 Louise Levergneux. City Shields, Pennsylvania Vol US6: No 1. A photographic documentation using manhole covers to depict exploration of geographical locations along the artist's life journey.

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This brings me to a sad moment for the community, as I convey my sincere condolences for the profound loss of Bill Stewart of Vamp & Tramp, Booksellers at the beginning of November. Bill, with his wife Vicky, were very instrumental in introducing my artists’ books to Special Collections of university libraries in the United States. I will always be appreciative for his demanding work, dedication, and professionalism. Bill will be sorely missed.

Book Arts Program, Marriott Library

Before leaving Salt Lake City, I printed all the pages and the cover of my book Shadow Me. I was having so much fun I continued to print the pages and images for Finding Home. The books are ready to cut, fold, and assemble. It is difficult to keep a working schedule on the road. First, I don’t have much space and often the everyday activities take precedence. That’s life when it interferes with art!

© 2018 Louise Levergneux, printed pages of Shadow Me

© 2018 Louise Levergneux, printed pages of Finding Home

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Last week, at the Book Arts Program Studio of the Marriott Library, I met with Emily Tipps, Program Manager, and Marnie Powers-Torrey, Head of the Book Arts Program and Managing Director of the Red Butte Press.

© 2018 Louise Levergneux, Marnie Powers-Torrey at the University of Utah

I had the pleasure of seeing some of Emily and Marnie's artists’ books, produced during the last few years. They also demonstrated some of the books produced by the Red Butte Press. The conversation continued by sharing thoughts on structures and techniques chosen, favourite binding methods, typestyle and fine press. The type of substrate of various books was stimulating as I’m constantly looking to print on new papers.

The feel of paper for the fourth imprint of the Book Arts Program (In)visible Shores by Danielle Dubrasky was very tactile, sensual to the touch. BAP imprints are designed, printed, and bound in-house.

© 2018 Louise Levergneux, (In)visible Shores by Danielle Dubrasky

© 2018 Louise Levergneux, Stranger and Stranger by Katharine Coles The book Stranger and Stranger by Katharine Coles with images translated from the paintings of Maureen O-Hara Ure

Marnie shared three of her own artists’ books. It was delightful to see Marnie enjoying the feeling of renewal through production.

© 2018 Louise Levergneux, Cities & Justice by Marnie Powers-Torrey

© 2018 Louise Levergneux, Nuts, Seeds & Heavier Fare (left) and Mama Self (right) by Marnie Powers-Torrey

Mama Self is an edition of 32, the age of the artist when she became pregnant and gave birth to her second child, realizing that she'd never be the same again.

Work on this book began in 2006 in a workshop with the brilliant Julie Leonard, just after the birth of the artist's third and last child. After nine years of gestation, the book was finally released into the world. Imagery is derived from circular ink washes suggesting the cyclical nature of being, the constancy of motion, revolving planets, ripe ovum and lactating breasts. The text is experimental and broken, collected in haste throughout the early years of motherhood. Stripped of formality and exposing raw, maternal femininity, the words string together a visual poem of primal and authentic language.

A short exposure with Marnie Powers-Torrey by KUEDCHANNEL7. "The visual book, as I like to call it, can be a mode of creative expression."

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Emily Tipps is the founder of High5 Press. At the moment Emily has a new visual book in production with the working title of Amoral. I enjoyed the visual aspect, design, and composition of its pages. 

© 2018 Louise Levergneux, Amoral, work in progress by Emily Tipps

I aim to provoke energetic reader interaction with innovative texts, using letterpress printing, hand paper-making, and bookbinding to create limited-editions whose content and form are conceptually and interestingly related. Says Emily.

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The most enjoyable part of traveling is meeting old friends and artists. I’m looking forward to having a space to create and express myself through these travels. Visiting artists and getting to know the productions behind the studios are absolutely invigorating! I welcome the next encounter.

Marriott Library, University of Utah

Last week, in Boise, I picked up from Unbound the 3D printed pieces of the houses incorporated in my book Finding Home. Unbound is a library and facility that experiment with emerging technology. I'm enjoying the sound of my printer as I print two copies of the pages of my book.

© 2018 Louise Levergneux, Finding Home house pieces

It was a pleasure being back in Salt Lake City after a year of traveling, even though more time was spent with doctors, chiropractors, and my physiotherapist. I appreciated a visit to the J. Willard Marriott Library the main academic library of the University of Utah this week.

© 2018 Louise Levergneux, entrance to the J Willard Marriott Library

The Book Arts Program has a fully equipped studio where artists utilize type, letterpress, photo engravings and bookbinding equipment as they combine traditional techniques with modern aesthetics and technology. 

© 2018 Louise Levergneux, the book arts studio as one walk through the door

The Program promotes involvement with the art of the book by facilitating Academic designations of Minor, a Certificate in Book Arts, and the MFA in Creative Writing & Book Arts, which are supported by classes exploring letterpress printing, bookbinding, artists' books and typography.

© 2018 Louise Levergneux, Chris McAfee in the book arts classroom, getting ready for a workshop on conservation

At this time of year, the Special Collection Gallery found on the fourth floor at the entrance of the Book Arts Studio is filled with student's work in book arts.

© 2018 Louise Levergneux, Special Collections Gallery

© 2018 Louise Levergneux, exhibitionon of students work

For you lovers of ABC books, I found one in the exhibition entitled Animal Alphabet. This artists’ book is an alternative take on a traditional abecedarian book that exposes the cruelty that animals experience every day and calls the reader to action by Sydney Porter.

© 2018 Louise Levergneux, Sydney Porter, Animal Alphabet

© 2018 Louise Levergneux, Sydney Porter, Animal Alphabet

More books caught my attention:

© 2018 Louise Levergneux, Box Sonata: at play with Plato, Quasha, and Chronostratigraphy by Mahala Kephart

© 2018 Louise Levergneux, Tatiana Tyszko, Places I’ve Fallen In Love

© 2018 Louise Levergneux, another fascinating book by Hannah Harper Hansen entitled Book 3

I have taken many workshops and a full semester class on book arts with the Book Arts Program while living in Salt Lake City a few years ago. The next workshop, The Book Restructured: Wire-Edge Binding with Daniel E. Kelm is at the beginning of June. With my hectic schedule Eastbound, I will miss this wonderful workshop. Pretty shitty! But that is life!

Next week, I will have a look at some of the people in charge of the Book Arts Program and next year with no injuries to heal I will plan in advance to participate in a workshop.

Rochester, New York

I finally crossed the border back into the US on October 17th. I was hoping to be down south before it froze. It was getting colder every day, and the rain never seemed to stop.

On October 18th, in Rochester, New York, the sun was shining and it was a gorgeous day. According to the locals, the temperature was out of season. One of my goals in traveling is to meet with new collection contacts or renew old ones. I love to visit artist's studios, it's fantastic but I also need to distribute my own artists’ books. This is my usual six month of administration duties.

On the road, I emailed contacts of different libraries for a possible visit. I received a quick response from the Rush Rhees Library at the University of Rochester.

© 2017 Google Maps, Rush Rhees Library, Rochester University

© 2015 Al Herms, Google Maps, Rush Rhees Library, Rochester University

I met with Stephanie Frontz, Head of the Art & Music Library and Art Librarian. The Art and Music Library is home to various collections including over 300 artists’ books. On short notice and to my surprise, Stephanie agreed to meet with me outside on Wilson Blvd for an artist’s book tailgate event!

© 2017 Google Maps, Rush Rhees Library, Rochester University

"With this kind of weather everyone wants to be outside, it will not last long,"—Stephanie replied.

Through our conversation, Stephanie showed me her sense of humour by presenting me with a “League of Librarians” trading card-style business card for the University of Rochester reference and liaison librarians.

This project helps students resolve concerns regarding choosing and finding materials. What a fantastic idea! Gamification is the way of the future!

© 2017 Louise Levergneux, I now possess this trading card. Will it grow in value as the years go by? HaHa! Do you have one? Which one?

After an interesting show and tell, the Art and Music Library acquired five of my artists’ books. Thank you Stephanie!

© 2013 Louise Levergneux, Entre deux

© 2012 Louise Levergneux, 6:45

© 2012 Louise Levergneux, Earth.11 from the series Outside the Studio

© 2016 Louise Levergneux, Xtraction

© 2016 Louise Levergneux, Finding Home

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The Hunt for Manhole Covers

WOW! another week flew by, a repetitive occurrence nowadays. The hours come and go without warning. Busy is good; but life is fleeting. Did you carry out what you intended to do this week?

I went hunting for more manhole covers in the town of Emmett, northwest of Boise on Wednesday. A quaint region at an elevation of 2,362 feet (720 m) above sea level and below Freezeout Hill—a steep terrain overlooking Emmett. Following the winding road constructed in 1919, we noticed a welcome sign to Gem County. The only gems we saw were dark red, soft and round, juicy and sweet. Cherry Festival! 

© 2016 Louise Levergneux, descending Freezeout Hill

We drove around the streets till we came upon a manhole cover that might be the oldest manhole cover in Emmett. Most are run-of-the-mill, I call them ersatz. The hunt is part of the experience and we had a lovely afternoon. 

© 2016 Louise Levergneux, manhole cover at N McKinley Ave & E Main St, Emmett

On our way back home passing trough Meridian, we found two manhole covers with stunning designs.

© 2016 Louise Levergneux, manhole covers designed for The Village Mall in Meridian

Friends viewing the volumes of City Shields often ask questions about the designs of the manhole covers and the reason for so many? Where or how I find the covers?  A manhole is used for many types of utilities: cable, sewer, telephone, sanitation...  So each design of the covers differentiates the use of the manhole. I find the covers wherever my life brings me. They are part of the city I live in or visit; and I’m obsessed with finding the most striking designs. I’m interested in bringing these entryways to the world beneath our feet to the forefront of city dwellers as art. At this point as an artist, I am more interested in the visual designs of the covers.

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I had to stop my printing process till the delivery of more ink cartridges. Two printers are expensive to keep. Now, I buy separate ink cartridges when needed. My delivery arrived today, now I have no excuses. 

Except, I’m entertaining another excuse, I would like to photograph and document my book Finding Home in ample detail. Finding Home is part of the Wanderlust exhibition at 23 Sandy Gallery in Portland. Laura Russell, the owner, sold two copies last week. What wonderful news!

© 2016 Louise Levergneux, artists' book Finding Home

I took numerous photographs before mailing my last copy to 23 Sandy Gallery. The number of an edition is tricky. Will every copy sell or will my closet of inventory get bigger? I remember contemplating on the question and thought I may need to create one-of-a-kind books soon if my studio gets smaller and smaller. Well, I was wrong and should have made a bigger edition according to Laura.

It’s a crap·shoot!! Publishing and editions are an uncertain matter.

Download, copy, Photoshop, prepare, templates, print—it’s all waiting for me to publish more volumes.

Finding Home

Being alone.

Finding Home. 

I moved many times since 2004, my last move was last July to Boise, Idaho. I love our little house, It's cozy and simple, so simple we have no sofa. Why not you ask? Because someone miscalculated the moving truck's cubic feet!

I’m always reluctant to move and our new place still doesn’t feel like home. Though I have a sense of belonging in my half measure studio.

I can no longer ignore the challenges of this move. I compare the aspects of my life to the years before Idaho. Heck! let's face it before 30 years ago.

I dread the future and transitions are difficult. Right now as we say in Canada, “slow as molasses in January” but it’s March! 

I have not found myself or the essence of our home/city, I’m uncomfortable. With time and age, my way of life is different. What I want is different and how I want to express myself is different.

What’s next? Who knows! It’s getting to the other side that’s bumpy! Driving over a cliff, bumpy! How do you cope with change?

“Masquerading as a normal person day after day is exhausting”—my motto for this month. While my husband goes by “Sometimes you just have to leap, and build your wings on the way down.”—Kobi Yamada

Michael has always built his wings as he travels. I hate that!!

Before the molasses came, I took my creativity and published an artists’ book that speaks of being alone, missing my country and missing my culture. I present to you Finding Home.

© 2016 Louise Levergneux, Finding Home

© 2016 Louise Levergneux, Finding Home

© 2016 Louise Levergneux, Finding Home

© 2016 Louise Levergneux, Finding Home

After taking a writing workshop with Paulann Petersen last summer, I wrote the poem for Finding Home.

At home, the sun kisses the foothills 

and transforms 

the horizon with vivid colours. 

Finding home...

Where do I belong?

Longing to be back home, 

where the maple leaf 

soars above the hills 

and 

la langue Française

de la belle province 

is recognized,

Dreaming of home, 

I wake to the sounds 

of coyotes 

and

live where the light shines till late

—the days are long, 

the country wild and free,

A sense of place, 

a sense of belonging, 

je me souviens

de la fleur de lys, 

my roots are deep, 

back and forth 

as a butterfly flitting 

across the miles. 

Finding home...

Where do I belong?—© 2016 Louise Levergneux

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I have made two explosion boxes with the help of Susan Bonthron. I discovered Susan’s Adam’s Error, Only One Bite the day I was exploring 23 Sandy Gallery’s website. Soon after I emailed Susan to guide me to a tutorial. To my amazement, Susan emailed me her instructions. I made an 8 inches square box for my first explosion box. Never start big!!

© 2014 Louise Levergneux, Equinox,Time

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Susan’s artist book Adam’s Error, Only One Bite is about the myth of Adam in Eden, the intersection of belief and reason, and the mathematical discoveries that represent the ‘bites’ each scientist or mathematician tastes of the whole mythical fruit that represents what can be known of our universe. Susan’s choice of mathematicians was inspired by Michael Guillen’s book, Five Equations that Changed the World: the Power and Poetry of Mathematics (New York: Hyperion, 1995).

© 2012 Susan Bonthron, Adam’s Error, Only One Bite

© 2012 Susan Bonthron, Adam’s Error, Only One Bite

© 2012 Susan Bonthron, Adam’s Error, Only One Bite

Susan works under the imprint Otter Pond Bindery.

Does your art decode the passage of time?