Another Large Book

April 24, 2016

Lots of time this week was spent trying to integrate my website server with MailChimp (an email marketing service) with no luck. I have decided that spending so much time on a company that only cares for paying customers is not a good use of my time. My preference is to communicate with artists and create my books. So I have had to resort to the old fashion way of announcing my new blog posts.

Now to better news, I’m happy to announce the winners for subscribing to my blog posts. The first subscriber Peggy Seeger (brave soul) is the first winner of a volume of City Shields, the 15th subscribers after are: Ka Mahina, Kerry McAleer-Keeler, and Monique momo Moore-Racine. The numbers tell me I’m close to another volume give away, so please subscribe.

As an artist my ideas come from my surroundings. Subjects are numerous and I’m captivated by the themes that ignite the beginning of an artists’ book. How do you choose your themes? Where do your find your ideas?

I took 10 years to create a series of nine artists’ books entitled Equinox—books on the mundane of daily activities. I started in the spring of 1998. The first book of the series began after the death of my father. This experience reminded me of missed moments. Each book is not large per-say (9in x 11in x 4in deep) (23cm x 28cm x 10cm deep) but the years it took to finish these volumes were too many.

Nowadays, no matter what project I begin, my husband always teases me, “Think small!”

Continuing on this fascinating journey of large format artists’ books, a book that caught my attention was Elizabeth McKee’s book Assault of Angels. I was curious about the inspiration behind the book since I had as you know just gone through a major move last summer!

Artists’ books no matter their size, they reflect personal and heartwarming ideas. Elizabeth inspired by a poem and a decision to move her home across the world. From these experiences Elizabeth created Assault of Angels, a 22in by 3 in by 10in (56cm x 94cm x 25cm) deep accordion book that weighs about 70 lbs (1.9 kg) without the box. When opened Assault of Angels is 33ft (10m) long. The longest opened book I have seen yet!

Elizabeth clarifies... « In the late 80s around the time when my husband talked about moving us from Ottawa to Bangladesh. I found a poem in The Faber Book of Modern Verse edited by Michael Roberts, an English poet who died in 1948 of leukemia.

I remember sitting in our living room in Ottawa telling a visitor I was “very comfortable here.” So the line in the verse “A time comes when the house is comfortable and narrow” resonated with me. I wanted to paint angels as a mighty force signaling the fantastic size and power of the unknown, not creatures that sit gently on one’s shoulder. The images needed to break out of the pages. I started with twenty (22in x 30in) (56cm x 76cm) sheets of St-Armand cotton paper which I thought might eventually be framed and hung together. The folly of that idea dawned and the Japanese Screen Hinge binding saved the day. »

© 2010 Elizabeth McKee, Assault of Angels — © 2010 Elizabeth McKee, Assault of Angels

© 2010 Elizabeth McKee, Assault of Angels, acrylic paint and gesso on handmade paper mounted on foam core board which is backed with Ugandan bark cloth — © 2010 Elizabeth McKee, Assault of Angels, acrylic paint and gesso on handmade paper mounted on foam core board which is backed with Ugandan bark cloth

It took 10 years and four moves for Elizabeth to publish Assault of Angels.

What moves you to create?

More Large Format Artists' Books

April 17, 2016

Artists work on their own most of the time and wear many hats. Being queen and king of our domain we are free or are we? This freedom comes at a price—loneliness. As artists no matter what medium we work in, the solitary state of the studio comes into play. We are tough, it may take a while but in the end we get inspired by the world around us.

Look what I found in Boise! What will I do with this? Have I found home?

Last week I introduced Christopher Kardambikis’ large format accordion book Mundus Subterraneus. The first time we communicated I mentioned I had recently relocated from Salt Lake City, Utah, to Boise, Idaho. My blog post was a way to communicate with other artists. Christopher responded he had recently made a move himself to New York City from Los Angeles in a similar attempt to get to know more people making books and zines and such he started up a radio program. His program is at Clocktower.org. Paper Cuts is an exploration of the contemporary world of zines and DIY publishing. Hosted by Christopher Kardambikis himself, each program features writers, performers, and artists who have shared their work in print, on paper, and in small editions. This experience of reaching out and talking to many people has really been one of the best things he has ever done. So please listen to his program and find out how Christopher finds artists and writers discussing their practice, studio, daily rituals, and their work fascinating.

After communicating with Christopher I decided to send a call through the BOOK_ARTS-L mailing list by Peter D Verheyen to find other artists who create artists’ books in large format. The response was wild I could not keep up with the emails popping in my inbox.

I enjoy hearing the ideas behind books, and the stories that inspire them. Let me present to you Alex Appella’s, The János Book. Alex writes on the reasoning behind her large book that took 12 years in the making.

© 2006 Alex Appella, The János Book, 8.5 inches x 25 inches x 1.5 inches closed and over 4 feet opened — © 2006 Alex Appella, The János Book, 8.5 inches x 25 inches x 1.5 inches closed and over 4 feet opened

« How long is 90 years?
From the silence of its long black cover, The János Book opens, and explodes with what had been unspeakable for over 70 years.
“90 years is long enough to be a child in World War One, a man in World War Two…”
“90 years is long enough for secrets to last 70…”

My Hungarian grandparents emigrated to California in 1931. They passed away before I was born, but left a legacy of questions that began to surface in our home in the 1980s. By then, the only remaining family member who could answer those questions was János (pronounced Ya-noash), my grandfather’s youngest brother, who had emigrated from Transylvania to Argentina in 1949. The questions were innocent enough. My mother always believed she had only two uncles—János and Imre. But then a photo of four young men was found among my grandfather’s things. Three faces were familiar. Who was the fourth man?

In 1994 I traveled to Argentina to meet János, to ask the questions. The answers—the secrets—revealed our identity, and revealed the pain of lying, even to protect those you love. The János Book not only encompasses a family’s history, it reveals the man who, at the age of 90, decided to tell it. The reader is taken on a journey from Oregon to Argentina, to Transylvania, and beyond. Original letters, photographs and paintings entwine János’ testimony with my poetry to reveal a family’s identity whispered away two generations prior. »

© 2006 Alex Appella, The János Book — © 2006 Alex Appella, The János Book

And then Alex brought to us a second book of identical size The János Letter, an interwoven volume, a continuation of events.

© 2006, 2012 Alex Appella, The János Book and The János Letter — © 2006, 2012 Alex Appella, The János Book and The János Letter

© 2012 Alex Appella, The János Letter — © 2012 Alex Appella, The János Letter

Alex explains... « I worked for many years researching, writing, and creating The János Book. Over a decade. It's the project that brought me to Argentina originally in 1994, to speak with János, my grandfather's brother. János was the only elder living who could answer questions that arose in our home in the US after going through my deceased grandfather's things.

After nearly 20 years of accompanying this project, I was rather certain I had written and produced all that could be written and produced. But then, in May of 2014, I received a letter in the mail. From János.

He wrote it to me in 1983, and due to a string of incredible events, as only real life can offer us, it showed up on my doorstep last May. János passed away in 2003.

The letter from János, both its arrival and its content, was too incredible to not bring to the readers of The János Book. As a writer, and a book artist, it was a new challenge to revisit a work I believed to be finished, and create a book that is...a prologue? ...an epilogue? I leave it to the reader to decide. However it is labeled, both books are now inseparable. One depends entirely on the other. Not only did the new book design need to mesh with the very large János Book in English, it needed to mesh with the much smaller trade edition in Spanish. It was a unique challenge. »

It takes courage to make two books of this size. I have decided—small books and small editions are the way to go. What do you think?

What creates your history/herstory? We all have interesting backgrounds, how do you portray yours?

Nostalgia

April 9, 2016

Spring makes me nostalgic, it’s a time to renew, a time to clear our spaces.

When I de-clutter my surroundings after the winter months my thoughts meander towards the past and its meaning.

I’ve been creating artists’ books since 1996. I was doing installations at the time and was not sure this was the direction I wanted to continue.

During the previous year my husband Michael Sutton published his own book Documents Management for the Enterprise, Principles, Techniques, and Applications, best-seller till the late 90’s. In the early part of that spring we travelled back to his hometown, and the trip brought many ideas and creativity. I shot lots of photographs of Michael contemplating his childhood.

On our arrival back home, I read Michael’s book and appropriated groups of words or sentences from each chapter. These sentences taken out of context added a depth of emotions to the photographs I had taken. After months of talks on childhood and the past, I created my last installation on the theme of memories.

My installation was made of one book, a large book—My Memories of My Memories—a 22-inches by 30-inches closed artists’ book. The one-of-a-kind brings adults to perceive themselves as tiny in front of its size and resembles a family photo album. It needed to be big and awkward! The array of personal family images helped trigger people’s memories of childhood with each turn of a page.

Each page is a blend of my photographs, snapshots from a family album and a facsimile of the pages of Michael’s published monograph. Each chapter title of Michael’s book becomes each page of my book. The intermixed images simulate a bizarre sense of déja-vu.

This recollection brings me to re-introduce my artists’ book My Memories of My Memories. This is where my world of artists’ books began. I can’t remember the reason behind the long title!! But notice Michael’s book title!

© 1999 Louise Levergneux, My Memories of My Memories

© 1999 Louise Levergneux, My Memories of My Memories, Chapter 3

© 1999 Louise Levergneux, My Memories of My Memories, Chapter 4

© 1999 Louise Levergneux, My Memories of My Memories, Chapter 5

© 1999 Louise Levergneux, My Memories of My Memories, Chapter 9

Later, I created a smaller version of My Memories Of My Memories in an edition of 10. This version is 4.5 by 3.125 inches. One copy remains in my collection copy 1/10. The smaller version brings a childhood memory of keeping small treasures in our pockets and keeping them for rainy days.

The Library & Archives Canada/Bibliothèque et Archives Canada in Gatineau, Québec purchased the large format one-of-a-kind in 2007.

During this wistful affection for the past, I researched large format books and found the work of Christopher Kardambikis.

His 21-inches by 34-inches book Mundus Subterraneus, a hand-bound accordion extends to 28-feet unfolded. That’s BIG!

© 2012 Christopher Kardambikis, Mundus Subterraneus — © 2012 Christopher Kardambikis, Mundus Subterraneus

© 2012 Christopher Kardambikis, Mundus Subterraneus. Multiple digital print, silkscreen, india ink, and graphite on paper. Silkscreen on bookcloth. — © 2012 Christopher Kardambikis, Mundus Subterraneus. Multiple digital print, silkscreen, india ink, and graphite on paper. Silkscreen on bookcloth.

In the lineage of Kircher’s treatise, Mundus Subterraneus explores an absurd mythology for the future, pulling from the history of book production itself as well as science fiction, myth and cosmology. The work functions as an intimate atlas of artistic process. Reminiscent of Kircher’s play on the doubling of “mundus,” the visual information of Kardambikis’ book can be considered as both a series of two-page spreads or a 28-feet long image. In either case, one’s view is limited to a fragment or image of a larger schema. Like an atlas, an entire area is not viewed at once but rather is taken in as fractions of a whole. The book presents the viewer with sign systems of both the fantastic and the personal in an illustration that requires durational engagement.

The book tackles the measuring of space and how we traverse place and was exhibited at the University of California in San Diego. Christopher set up a series of prints cut from paper and adhered to the wall of the gallery called Squaring a Circle - forming an image of the horizon as scene from the nearby desert.

Mundus Subterraneus, the book, functioned like a cross section. If the earth formed a sphere that could be contained in the space of the gallery then the book was a core sample - a sliver of information down the centre of the sphere, flattened, condensed, and formed into an atlas. An atlas of the space, of the show, and of my practice all existing but never seen in its entirety all at once.

Such a wonderful book, I would have loved to see this exhibition in person.

I love big books and the philosophy behind them. Remind me though never make a big one again!

Explosion Box

April 3, 2016

My blog is fulfilling its goal, I’m meeting and talking, or should I say emailing artists more than ever.

I love to communicate with other artists I enjoy the interaction—the main reason for my blog. What a great day when emails are filled with wonderful images and accompanied information. It’s like Christmas!

Lots of work goes into blogging, and it takes time away from my most important priority creating artists’ books and taking photographs. Posts demand planning and communicating in an efficient manner. I am very grateful for those of you who responded on such short time frames.

Talking about lots of work, let's congratulate Helen Hiebert on her 100th blog post last Sunday!

My blog is receiving more and more subscribers thank you for the support. I’m giving away a volume of the original 7 volumes of my series City Shields to the first brave subscriber to my posts and to every 15th subscriber on the list. I appreciate the compliments on my book box Finding Home. We are never alone in our experiences, I’m pleased my book conveyed a sense of place.

With the sun out and the forsythias loosing their blooms we know it is SPRING! So with camera in hand I photographed the first flowers that made me smile!

Back to business and the explosion box/book box. I like the last term! Susan Bonthron created a double explosion box (box within a box) based on the Chinese sewing box. Wonderful!

Another book box creation of Susan’s is entitled Almost There and was part of the Philadelphia Atheneum exhibition From Seneca Falls to Philadelphia: Women of the Centennial.

Susan emailed the colophon printed on the inside of the lid of Almost There. A great insight into the work:

« The story of how the idea came to me is interesting. I looked at the call for entries for the Atheneum show, and thought, "No, I'm not going to enter that; it's political and not up my alley." But one night I saw the book in a dream--the scroll encased in a "jail" box, with windows made of upside-down American flags, the women visible on the outside of the scroll appearing to be "captured" in jail (Susan B. Anthony was jailed for attempting to vote), and the inside of the scroll printed with the Declaration of the Rights of the women of the United States (presented by the National Woman Suffrage Association on July 4th, 1876 at the Philadelphia Centennial). The call for entries required a design for a book to be made specifically for the show. I drew my dream book and sent it in, and it was accepted. Then I had to figure out how to make the book! Fortunately my husband, Gilbert Ruff, is a cabinet maker, and he constructed the wooden scroll and its plinth. I made my first "exploding box with windows" for the case, printing the American flags on acetate and gluing them between the double frames of the windows. Quite a job! I created the scroll itself by researching the suffragists and finding images of them from which I drew and created silhouettes. Not all the important women fit onto the scroll, so I also included a list of the ones whom I could not create images for. On the back of the scroll I printed a reduced copy of the entire Declaration of the Rights for Women »—Susan Bonthron

Book Artist Kerry McAleer-Keeler also creates book boxes. I enjoyed viewing Boxed Spirits: Franny, Zooey, and Everyman a box structure inspired from the J.D. Salinger novel Franny and Zooey and the allegorical tale of the Everyman.

Inside the box structure one finds photographic transfers amongst a monotype printed background. The transfers represent the two main characters as children to their adulthood. Kerry used period family photographs as source material for the images. The main box also houses 3 smaller cubes that are containers for horse hair spheres that reflect the spirits of Franny, Zooey, and all of us. The piece exemplifies the spiritual search for Franny in the novel and for all of us in real life.

© 1999 Kerry McAleer-Keeler, Boxed Spirits: Franny, Zooey, and Everyman, part of the rare book collection at the Gelman Library, George Washington University in Washington DC — © 1999 Kerry McAleer-Keeler, Boxed Spirits: Franny, Zooey, and Everyman, part of the rare book collection at the Gelman Library, George Washington University in Washington DC

How do you express yourself and your ideas?

Bah! Grumble! Grumble! Got to take care of a printer misfeed. I’m printing business cards, another hat I’m wearing today, so have fun creating.

Finding Home

March 27, 2016

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.

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...

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!!

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

Susan works under the imprint Otter Pond Bindery.

Does your art decode the passage of time?

Visit My Studio

March 13, 2016

Do you enjoy visiting artists’ studios? Spend time in another world? I do, I love it!

An artist’s studio gives you insight, walls filled with inspiration, memorabilia, writings, flyers, invitation cards... One notices the workflow, the equipment collected through the years, the stack of papers, the assortment of book cloths...

I love small thingamajigs sitting on shelves or ideas pinned to boards. You can visualise the beginnings of a final piece, you can sense the artist’s mind cogitating.

Going from one project to another, how do you dust off your worktable and unburden your mind for a new project?

My mind gets clogged around what I call crunch time—the stretch between finishing touches, call for entries, the prospectus for new books! I can’t brainstorm for this post. No bright ideas to write, aucune idée, nada, zero...

Let's take a break and take this opportunity to visit my messy studio. My half studio not big gets messy fast. I had to move out a filling cabinet that supported my old Epson 2200 to make room for this—

My Epson 2200 sits on a plastic bin to print business cards today.

My Dahle 554 cutter has found another calling—a bench for Finding Home's different elements of to be assembled.

My tools are full of glue so cleaning is a priority. How do you keep your tools clean as you work? Any advice is good!

At least, my small tools are in place.

My walls are full of artwork that inspires me but since the world is spinning fast, this cartoon reminds me to take it easy.

And the results of my labour, books and more books! How big is your inventory?

Do you have a plan to organise your archives? Do you plan for the future for what happens to your legacy?

Work awaits...

More Drawings

March 6, 2016

Last week, I re-drew the final element in Tinkercad for my artists’ book Finding Home. Major problems were surfacing, and the results were not good. Defeat, no way! This simple structure can be 3D printed, I’m sure.

My solution was to break down the sections of my structure into 7 pieces and once printed I would glue the sections together. The question remained, will the parts fit together? I’m hoping it works!

Friday, I travelled one more time to Unbound to retrieve my work. Well, surprise! surprise! every part fit, amazing!! Persistence as always served me well.

The slipcase for my book Xtraction was also a success. My strategy worked. I’m excited to finish these projects. J'ai le vent en poupe ! I’m on a roll! as they say. I will elaborate on this project later, but here is a photo of the result of the last 3D print of Xtraction's slipcase.

© 2016, Louise Levergneux, 3D printed slipcase for Xtraction

Last week we visited the compelling Clock Drawings by Adrian Göllner. One more drawing from the series is worth looking into because of it’s interesting history.

The MGM blockbuster movie Ben Hur made its screen debut in 1925. Borrowing on its success, the Westclox Clock Company designed a handsome, roman-style alarm clock, which they called the Ben Hur and began marketing in 1927. The Ben Hur clock in my collection was purchased at Rideau Antiques in the Ottawa Valley, so it had likely been the property of a farm family in the vicinity. A mark on the reverse indicates that it had been serviced in 1942, but sometime after that it ceased to run and a repairman scavenged its winding keys. The clock is in poor condition and the spring was broken, but the alarm spring was still partially wound. I suspended the clock movement above a piece of carbon paper and then triggered the alarm. The alarm hammer struck the surface for several seconds. A decidedly men’s-style alarm clock, one might conclude that it was a birthday or Christmas gift for the father of a household. Perhaps he had traveled to the big city, seen the movie and now his family honoured him with a clock of the same name. If that is the case, then memories of the movie and thoughts of his family were an inextricable part of the energy coiled on the alarm spring and which made the marks upon the paper.

Another series, another device. Adrian’s project the Norwegian Wood Drawings configures a turntable so that the vibrations of the needle are transferred onto a drawing surface.

© 2012, Adrian Göllner, Norwegian Wood Drawing Mechanism

A vinyl recording plays on the turntable causing the speaker’s woofer and attached pen to vibrate. The pen is slowly drawn backward across the drawing surface that itself rotates at 33 1/3 rpm.

Adrian’s intention was to divine the shape of John Lennon's loneliness from the grooves of his old Beatles albums.

“A brilliant but troubled song songwriter, rejection and self loathing underlie many of Lennon's most enduring songs: Girl, I'm a Loser, Help and Norwegian Wood. Speculative? Absolutely. But even the consideration that the lines before us contain the essence of John Lennon’s loneliness make these drawings both curious and compelling.”—Adrian Göllner

© 2012 Adrian Göllner, Come Together, ink on vellum, 34 x 22 inches

© 2012 Adrian Göllner, I Want You, ink on vellum, 34 x 22 inches

© 2012 Adrian Göllner, Across the Universe, ink on vellum, 34 x 22 inches

The studio of James G. Jenkins is part of the Water Street Studios an artist co-op in Batavia, Illinois. Lucky to meet this talented artist, luckier to have him as a friend.

Drawing the Line(Somewhere) was made on one of the many bicycle paths around Batavia, Illinois. The reason for building this device was to "connect the dots" around the world to all areas suffering from climate & environmental problems. "We all must "draw the line" on something," says Jenkins. I use this device and performance to demonstrate it.

© James G. Jenkins, Drawing the Line(Somewhere) — © James G. Jenkins, Drawing the Line(Somewhere)

James also notified the Museum of Contemporary Art in Chicago that he would be "drawing rings around them." This drawing is from that performance.

© 2004-2006 James G. Jenkins,  Drawing the Line(Somewhere), detail of drawing — © 2004-2006 James G. Jenkins, Drawing the Line(Somewhere), detail of drawing

James’s sculptures provide a theme for both intellectual and visual curiosity. They contain road maps directing the observer through a process of distillation and fusion of contrasting ideas and investigative humour. James a genius at work is always happy to show you around his studio and direct you to the actual installations around Illinois. If you are in Illinois, James's studio is worth the visit!

These wonderful well thought out art pieces leave me with deep thoughts...

Drawing

February 28, 2016

Would you like to delegate certain tasks?

My work exhilarates me and I enjoy the activities in my studio. Certain activities are monotonous repetitions. After a day of these, I get cross-eyed.

The learning curve with Tinkercad is more work than I assessed. I have figured out how the Ultimaker 2 3D printer handles measurements depending on heights and widths. I have redrawn my prints so many times...did I mention redo, redo, redo and redo! Oh! and re-measure. An Epson or an Ultimaker 2, Aargh!

As simple as my Tinkercad drawings are they are difficult to print. I should job out this task for sure! There were changes and savings too numerous to illustrate. Here are a few images that show the steps I took to break down the slipcase into two pieces to print. The last drawing is ready for print. Let's see if this works!

Do you thrive on endless repetitions? Is it meditation?

Which experience is worse drawing in Tinkercad or Miguel Endara’s pencil touching the paper 32 million times to create Hero?

Karina Smigla-Bobinski gave the task of drawing to the audience that came to play with her kinetic sculpture installation.

ADA is a post-industrial "creature" self-forming artwork. She is a 3m diameter PVC balloon performance machine and her patterns of lines and points, get more and more complex as the number of people playing increases. What an experience this must have been!

Adrian Göllner, an installation artist who collects old wind-up alarm clocks. Compelled by the energy stored in the spring of over-wound clocks, Adrian channelled this found energy into drawings.

The Clock Drawings were either created by the clock’s movement, which was directly set atop a piece of carbon paper, or the movement was suspended just above the carbon paper. In both cases, when the alarm spring was released, the hammer struck the surface and made a mark.

Each clock used to create a drawing had its own particular temperament. Getting a clock to run continuously or convincing it to give up the energy bound on its alarm spring often required a specific apparatus. As a result, the weight of the drawn lines and the size of the paper vary considerably. Each drawing is presented in simple box frame and accompanied by a one-page account of the drawing process and Adrian’s suppositions about the clock owner’s circumstances.

The first of the alarm spring drawing was created using an old Italian Veglia alarm clock. When released, the alarm hammer struck the surface of the paper so vigorously that it dragged the movement for 3.5cm.

“The person to last service the old Italian Veglia alarm clock had written his name and a date on the inside of the clock case, which allowed me to conclude that I had just witnessed and recorded Possibly the Last of Bill Tets, Clock Repairman,” as narrated by Adrian.

© 2009-2011 Adrian Göllner, Possibly the Last of Bill Tets, Clock Repairman — © 2009-2011 Adrian Göllner, Possibly the Last of Bill Tets, Clock Repairman

To facilitate another clock drawing, Adrian partially disassembled the clock and prepared a piece of paper to fit over the face. He then started the clock, fitted the piece of paper and replaced the minute hand of the clock. Glued to the minute hand was a small pencil lead. Powered by the winding motion of an old farmer’s hand some seventy or eighty years ago, the lead was dragged across the surface of the paper for a period of 3.86 hours.

© 2009-2011 Adrian Göllner, 1919 Westclox Big Ben, Style 1A Alarm Clock — © 2009-2011 Adrian Göllner, 1919 Westclox Big Ben, Style 1A Alarm Clock

These drawings intrigue me, the straightforwardness of the idea gives me chills, brings me back to old history. The drawings are pure and the energy is strange and yes, Adrian ghostly.

What could I devise to help with the monotonous tasks still ahead? How does an artist rethink the process or think minimalism?

Simplicity is best, but for right now my new project needs its final feature to be complete!

Welcome Bienvenue

Hello, my name is Louise Levergneux, I’m a book maker. This blog is where I share and reflect on the approaches and structures used in my creative process, artists' books, photography. and more...

Your comments and stories are welcome.

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