About this piece:
This piece considers ideas related to understanding. How much can we ascertain when reading a book, or when reading one another? Much remains a mystery. Access comes into play—who gets “let in” via power, education, or economic status? The shoji screen-like form, tightly hinged in a modified tunnel book-style construction, suggests both illumination and concealment. The idea of liminality permeates this piece— whether we linger at a physical, sensory, or intellectual threshold, suspended on the verge of entry/understanding.
The abstract imagery and text are softened and obscured by the overlay of Thai Unryu paper, lending to the air of mystery or inaccessibility. Despite holes punched into some of the shoji-screen layers, revealing glimpses of what lies beneath, the underlying words and forms remain difficult to ascertain.
This piece is meant to provoke a certain degree of frustration for the viewer who is attempting to “get” what might be implied. Light filters through the pages, suggesting insight but the book cannot be opened fully enough to really “read” it. The form itself plays with the idea that comprehensive understanding remains unattainable. The work is similar to a poem—with beautiful, puzzling, open-ended, and mysterious qualities.
paper, balsa wood, museum board
About the artist:
Carrie is a visual artist based in Hoquiam, Washington. During her education at Whitman College she was introduced to Book Arts as a means of expression—a foundation that continues to influence all permutations of her art-making. Her artist’s books have been exhibited nationally, published in Lark Crafts “500 Handmade Books, Volume 2”, and are held in the library collections of Baylor, Indiana, and Yale universities. Recently Artsmith awarded her an artist residency for January 2018, where she will spend time honing the content for new work.