I’ve looked at clouds

I finished I’ve looked at clouds this week.

It continued to go less smoothly than I would have preferred.

I was almost finished the stitching on the covers for the sixteen interior intersections when I went downstairs on Thursday morning. The early sun was streaming in through my studio windows at a shallow angle, illuminating the workbench.

That’s when I noticed this.

The re-printed panel —the one that had involved the major struggle with the printer— was printed on the ‘wrong’ side of the paper. (I really like Legion Domestic Etching, but the two sides do have different surfaces.) Apparently the paper had been turned over at some point during the printer battle.

The worked looked like this for a day

while a new re-print dried.

I have also decided to participate in this month’s #areyoubookenough challenge.

If I hadn’t already posted it on Instagram as a #throwbackthursday, I might have been lazy (again) and used my earlier work, Catacomb, which has lots of hexagons.

I thought about flexagons and  kaleidagons, but others posted using those early in the month, so I am working on something completely different. Here’s a test fold from scrap paper to check the fit in the basket I will use to house the work.

You can check back here for further updates here, or follow my Instagram account.


On Friday afternoon, David and I went to see This Scorched Earth. The opening had been postponed for what is now the standard reason.

It’s an excellent show with well-executed works following the artist’s concept and intention thoroughly and beautifully. Here’s the artist’s statement:

As an artist, I create work as a “holder” for intention. My work is narrative based, often centred on archetypal, mythological themes, and how they manifest themselves in contemporary life. I believe my work is most successful when it acts as a resonant gong for the observer.

In this work, I am exploring and expanding on the idea of works of art being reliquaries that preserve connection between humans and the environment, as well as the past and the present.

Over a year, I harvested the dead trees from local bluffs and fields around my rural home and transformed them into shrines. The trees, scorched, polished with bees’ wax, and embedded with objects, stand as symbols of loss and devotion. The process of searing, sanding and burnishing the wood harnessed my mourning and transformed the trees into mementos of what I see is being lost in the environment surrounding me. The objects “preserved” in the wood in various stages of death, decay and fading act as ceremonial reminders.

The glass work is also an act of preservation. Using a plaster/silica mixture, I made molds of the surface bark of each tree compartment. I then created the convex glass windows by slumping glass over the molds in a kiln, ensuring that each window is a direct impression of the wood that I bored away. The organic impressions of flora were created by delicately pressing flowers and leaves into wet clay, making a plaster/silica mold of the impression, and casting glass into the open-faced molds. For the glass vessels, I used the pate de verre (glass paste) technique, which is one of the oldest known forms of glass dating back to the early 2nd millennium in Ancient Mesopotamia. I mixed fine glass granules (frit) with water and Gum Arabic to create a paste, which I packed in subsequent layers into plaster/silica molds. I then fired the molds in a glass kiln.

These objects, exhibited together, create a journey of remembrance of a fading landscape.
Louisa Ferguson, February 2020

You can visit the gallery without fear of catching something from hordes of university students as all on-campus classes have been cancelled and the university is switching to ‘distance learning’.

September to April Gallery hours:
Monday to Thursday: 8:30 am – 10:00 pm Friday: 8:30 am – 5:00 pm Saturday: 10:00 am – 5:00 pm Sunday: 12:00 pm – 9:00 pm
May to August Gallery hours: Monday to Friday 8:30 am -5:00 pm


In other art news:

I have been pleased to see humour being used by a number of individuals and businesses as a way of coping with the current situation.

I was particularly entertained by the following two which turned up after we had visited our local grocery store for our usual Saturday morning shopping and seen the stripped shelves for ourselves. (There were quite a number of older customers in the store. I presume they are all recovering from  the same strained ocular muscles as David and I after all the eye-rolling.)

This is my favourite so far, created by paper bead artist @squeaker_chimp.


A suggestion:

If you have children home from school and are looking for ways to occupy them, you could try making thaumatropes.

You can find my post with instructions and downloadable files for printing by scrolling down after going here. (The instructions say to print on cardstock. If you don’t have any in the house, and don’t want to go out to buy some, you can print the images on regular copier paper and glue it to some cardboard. An old cereal box would work nicely. It will make aligning things a bit trickier, but I’m sure you can handle it.)

About Byopia Press

I have been working in the book arts field for more than twenty years, and operating Byopia Press with my husband David since the late 1990s. I began producing artist's books and altered books in 2004.
This entry was posted in art, artist's books, book arts and tagged , , , , . Bookmark the permalink.

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