About this piece:
While making this book, I was imagining future nights, when one can’t help but lie awake with grief for what’s been lost: resources, luxuries, connections. The book acknowledges the reality of diminished capabilities with its rough darkness, but reveals embedded flashes of prettiness as each page is turned. Elements of light, color, domesticity, and plant forms offer comfort and consolation; talismanic protection surrounds the viewer. The book encloses 15 sheets of paper, each embellished with scraps of cloth, paper, lace, and thread, and folded into eight-page booklets, then dyed using local plants. The cover is a vintage linen napkin, dyed and embroidered. The booklets are secured to the cover with a long stitch binding and rows of French knots along the top and bottom edges. Beads and charms adorn the spine. Closure is with a hand-twisted silk string and shell buttons.
Papers used (A5): Hahnemühle Ingres mouldmade pastel paper, 100% cotton paper handmade in England, Fluid 100 Watercolor paper, blueprints from my father’s work as an optical engineer, pages from a book on flower arranging. Plants used for botanical dyeing include: smoke tree, oak, usnea (old man’s beard), angel wing begonia flowers, hazelnut catkins, rhubarb leaves, rosemary, fern. This book was inspired by lessons in the “being (t)here 2019” course at India Flint’s School of Nomad Arts.
paper, thread, cloth, beads, buttons, plants, pencil, crayon
About the artist:
Lives and works in Hancock, Maine, United States
For many years, Catherine Ednie’s main art form has been poetry. In 1998, she co-founded Poem Alley, a poetry group that still meets regularly in Stamford, Connecticut. She co-edited and designed several volumes of poetry representing that community, published by Turn of River Press. These days she finds herself increasingly at a loss for words as a poet, but drawn to the visual and tactile qualities of book arts. She loves to use cloth and hand stitching in her work and also enjoys collaborating with plants.