Planted features an original essay discussing the connection of gardening to ancestral legacies. Mono-prints of plants from my and my mother’s garden are featured in this bookwork. The portfolio cover on the edition features a photo from my mother’s garden and the lace paper folio simulates garden gates.
I’m always happy to visit gardens and am intrigued whenever passing by a gated garden – especially those that offer just a glimpse. These private spaces feed the imagination. The crocheted cover on the deluxe copy simulate these walled garden gates.
Size: 11”H x 9.5” W x 1”D
Media: Cotton, thread, cloth, paper, plant material (pittosporum, rosa, loropetalum, hydrangea, maple, oak), toner, ink
Structure: Crocheted doily with cloth triptych signature of sewn dried plants and paper triptych of monoprints contained in custom clam shell box
Unique - Deluxe
Size: 8”H x 6” W x 0.5”D
Media: Lace paper, cotton paper, toner, ink
Structure: Lace paper folder with folded paper signature and 3 loose leafs contained in portfolio
Edition of 4
Our Lady takes its form from the homemade shrines found in homes throughout southern Louisiana where Madonna statues grace many lawns and are a sign of devotion.
Size: 8” W x 10”
Media: Wood, cotton thread, organza, beads (Job's Tears), wire, dried plants, graphite, metal, pigment print.
Structure: Modified Pamphlet on rods
Size: 8” W x 10”
Media: Wood, cotton thread, orgnza, beads, wire, dried plants, graphite, metal, pigment print.
Structure: Modified Pamphlet on rods
Imagine cleaning a closet and finding an unmarked box. It has a little weight to it and one can only guess what may lie within. Nan is constructed of handmade sugar cane paper and digital image transfers. It offers a glimpse of a “who” from long ago.
Size: 9” W x 6”x 4”
Media: Handmade sugarcane paper, cotton
Structure: Accordian with sutured cloth hinges, leather covers.
Size: 4” W x 6” x 1”
Media: Graphite, paper, thread
Unseen features layers of trace monoprints and a unique poem about invisibility.
Edition of 3
Poule Aye examines the impact a sense of place has on one’s identity. More than just saying where a someone is “from”, it looks at how place and time influence the formation of attitudes, personal beliefs, and actions.
The story presented in this bookwork is based on comprehensive interviews held with my dad. Poule Aye consists of one page, part of which is folded to form a “shotgun” style sharecropper’s home and part of which contains a “field” of text. A backyard chicken coop and be viewed through the front door when the book is open.
Size: 5.5” W x 7.5”
Media: Cedar, rayon paper, chicken wire, handmade fig leaf paper, Larroque Aquarelle watercolor paper, nail
Structure: Accordion with tunnel
From 1912 to 1932, the Julius Rosenwald Fund provided matching grants to African American communities in the South, for the purpose of building schools. Rosenwald tells the story of the importance that two such schools played in the lives of a family living in southern Louisiana. Told as a snapshot, the book recalls a story of hardship, determination and triumph.
During a trip to my parent’s hometown in Louisiana, I passed by the spot where a gas station once stood. The story begins as I remember looking out across the street from the station years ago in that same spot, gazing at the school across the street. The image of the school sparks a flood of memories of family stories spanning two generations and is told in one sentence. The main character in the story is my aunt Vie, who was a teacher and then a librarian for the schools. While researching material for this book, I learned about the important role the Rosenwald schools played in the education of African Americans in the South in the early 20th century. I intended the book to be in a form that would allow it to be read by either unfolding it bit by bit to reveal the story, or hung on a wall and viewed in total.
Size: 7”H x 12-1/4” x 2” (closed); 50”H (open)
Media: Linen (bookcloth), silk satin, silk organza, silk and cotton thread, glass, Bertini paper, Johannot papersilk tissue, linen book tape, graphite, oak
Structure: Sewn pamphlet with envelope wrap cover
Katrina non-withstanding, Louisiana weather history is fraught with floods, tornadoes, hurricanes and other violent storms causing much damage and loss of life. Modern technology can offer little protection for those caught in them.
This book outlines the spirit of a ritual that my aunt would perform when the weather turned ugly. On an approaching storm, all would be called inside and though natives would consider the ritual a normal occurrence giving it little attention, being a visitor, I considered it to be a dramatic performance. Years later, I learned that my aunt was not alone in performing the Storm Sequence - it was practiced in some form by many in Pointe Coupee parish and possibly(probably) beyond. More recently, my aunt informed me that she still performs the sequence, though in an abbreviated format.
The book is loosely patterned after the homemade shrines observed in some of my relatives homes. The numbers on the inside of the doors are years of documented significant damage caused by storms in the area.
Size: 12.75” H x 9.25” x 1.75”
Media: Wood, bookboard, commercial papers, synthetic plaster, screws, glass, acrylic, oil
Structure: Accordion enclosed in frame with hinged doors
Edition: 5 + 1AP