About the books

My definition of a book as "a container for an idea" provides enough flexibility so that I can choose just the right structure and material to convey the idea I want to express. Another definition for an artists' book that I just came across, and that I really like, is "A book that says more than what it says". My books are multimedia assemblages that combine at least words and images, and they usually include other stuff, as well! While the subject matter varies from book to book, there are several consistent aspects to each piece.

The synthesis of subject, structure, material, and page design is very important to me. For example, "Daisy's Quilts" uses an accordion format so the book can be viewed in its entirety. The digital images of quilts are printed on fabric and "hung" from a "clothesline" that spans the accordion. This presents a view much like the one from my grandmother's kitchen window on laundry day. I covered the structure with a fabric reminiscent of the muslin that quilters use. Then I included text - a summary of the feelings invoked by the quilts, starting with characteristics of the quilts themselves ("…, warm, snug, …"), progressing through the way quilts make us feel, finally to the woman who made them ("…, wisdom, strength,…"). This integration of all the parts of a book, usually driven by subject, is consistent through all my work.

The interaction between the reader and the book - that interaction that provokes surprise, delight, a smile or laugh - is also important to me. I always try to make my books do something to further engage the reader. The method varies from book to book and, again, is consistent with subject. One type of interaction is found in "Lake Time", where the reader physically turns a rotating wheel on each page to hide and reveal different nuances of Mother Nature's time-keeping scheme.

Some of my work reflects my somewhat odd sense of humor - all of it shares a sense of playfulness and whimsy. At first, I was somewhat dismayed to find I couldn't create what I thought of as "serious" art. Then I grew to understand that art should provoke a feeling - and isn't delight a feeling? There are so many sad things in the world - I like to think of my books as moments of respite. The funny thing is - since I came to accept the fact that my art might never make important social commentary, several of my newer pieces are more reflective and, well, "serious". But I still want to summon that sense of delight and wonder from my audience!

All my books have content. As I mentioned before, usually the content drives my entire creative process. It's the idea that I want to express that determines all decisions relating to structure and material. I've seen some beautiful blank books, and even made a few myself to learn new techniques, but my work must have content.

My work uses commonly available materials. Maybe because, due to my rural location and budgetary constraints, I don't have access to UNcommonly available materials! But it would make my grandparents (who lived through the Depression in rural Alabama) very proud. I think that I sometimes used the lack of materials as an excuse not to do the work. Then I adopted an attitude from George Washington Carver, who, paraphrased, said, "Use what you have and do it now". As a couple of examples, "Ma'Cille's Museum of Miscellanea" uses duct tape as a binding material. "Lucky Charms" uses free laminate samples from a home improvement store as covers.

Photographs of the books are here...

Contact me if you have any questions, comments, or just want to talk about artists' books!