Organisms in Their Environments: The Documentation of Existence

Here is the story I wanted to tell, pictures and all.

This book is made from an old book, kraft paper, tracing paper, ink drawings, and collage. The illustrations are primarily from four books (Le Petit Buffon Illustre, Backyard Flowers, A Golden Guide: Ecology, and A Flower Book for the Pocket), collaged to create a place with which to identify the words (which may be taken as advice).

The quote from Richard Lewontin is taken out of its context, to kaleidoscope its possible meaning. It speaks of a thermometer which we can apply to our lives. If you are unhappy in your work, that must not be the work for you. Or if you're not very good at what you're working on, it's okay to move on. We've made it this far, we can't be doing so much wrong. But we've made it this far, because we've evolved. Why stop now?

The individual contains his personal evolution. And in order to thrive, must make his space personal. (Above page's text from Ecology.)









Applied to making this book for a new baby, it's a reminder to parents and child, alike. It's okay to let go, because although we inhabit each other's space at times, the line must be drawn at inhibiting another's space. Boundaries, too, are a part of space building, and I am not, by any means, saying we can do without them.









I am only trying to explain how ephemeral this concept, these walls, can and should be. How much of ourselves to implement, without imposing.










But my words are grains of salt. I've never been a parent. I've only had them. And they taught me these things; I don't know where else I could've gotten them.










I am not saying leave a space when it's uncomfortable. But know the capacity of your lungs for water and air.

A Golden Guide: Ecology lists the types of species interactions as follows: shade, fungi, growth inhibitors, predator and prey, competition, in symbiotic relationships, a give-and-take relationship, protective, and dependency

Those are classifications to keep in mind.

give-and-take
















fashion as space








shade
















A look at the full spread, with page number.






This page's text is a quote taken from A Golden Guide: Ecology. Although the rest of the text is my own (except page two, also from Ecology), the sentiment that spoke to me from this statement is too honest to neglect. There are many things it makes me think, so I will edit. At first, I hear something about being safe, and the dangers in remaining covered. Because I have negative connotations to the words persisted and isolation. At first, I feel a mediocre excuse coming on because persistence speaks of trying, failing, middle of the road to stay on course, safe. But I am wrong in my assumptions. Then I realize how beautiful the structure and concept of fossils are. This species, around for hundreds of thousands of years, could be mistaken for anachronisms in their isolation, their subtle existence, but they are role models of evolutionary excellence. What great advice I bet they have. For preservation is a creation...






I moved a year ago, and am about to move again. I am skeptical of myself. Because truly, if you are happy, shouldn't you be able to stay put, and regenerate yourself? Motion is inspiring, but is it cheating? People close to me questioned my motives for my last move, and the move I am about to make. The impression I get, is that they assume I am unhappy, and want to go get happy. I admit, there are times I feel stifled by places, and it may seem to correlate with longevity. I felt like I HAD to get out of Orlando, FL. So I came to Portland, because the 'stars' aligned, and I had a room in which to move. Things seemed to work out, but I don't believe in fate, so I must be self-directed, and looking for these 'opportunities'. I give great consideration to these matters, because I hate excuses. In truth, I see the pros and cons of a place after about eight months of living in it, but I don't consider objective critique adverse to loving and staying. When it comes down to it, I do what I feel I want. And I want, "to go do and see as many things as I possibly can in this life," as my grandfather once said of his life experiences. I can't dissect it more than to say, opportunity and experiences are the manifestations of our desires. (If you know what to do, then go do that). Ultimately, it is as I wrote. If motion is your happiness, make motion your home. An important footnote is to do it with care and consideration for those who love you.

The End, indeed. index.

The Little Skeleton

The Little Skeleton began as an assigment based on Frida Kahlo's life and work. I was influenced by elements of her culture, life, and art. The pictures above are the beginning of what became a long, but quite fluid process. To the left, is a section of the scarf that was influenced by Frida Kahlo's life and work. The colors of the cloth are vibrant, and feminine. The image is dia de los muertos-esq, and ethereal in the vein of Kahlo's imagery. The fabric is hand-dyed silk charmeuse. There are two sides to the scarf, as seen in the picture above to the right. The front has the print on it, and the back is solid fuschia. The picture to the right is of the critique for this project, during which it was suggested that I use this character to develop a story. Stubbornly, I denied my affinity for writing. I wished I could be such an artist that never needed to say what she meant about what she did...


Eventually, telling the little skeleton's story became the obvious answer to a difficult question: How do I make my computer art final tangible? I wanted a narrative, and had almost forgotten that it was pretty much laid out for me. Having just been to deserted Coney Island in the dead of winter, I had a perfect setting, and the story just flowed into it. The above images are the preliminary ideas for the finished little skeleton. They are reverse applique, and applique, embellished, and hand bound covers. The following images were laid out in photoshop before becoming the tactile, finished, The Little Skeleton.





The following are images from a sort of thumb-nail sketch I executed before going into making The Little Skeleton. Luckily, I improved upon what became muddied colors and indistinct blocks of color in this project in the final product.


























Finally:

The character of the Little Skeleton is the concept of death in a child's mind, unaddressed. He is solemnly carefree, evasive, morbid, cautiously playful, and innocent of all of the aforementioned.

The pages of the book are made from natural fabric (all cotton: muslin, cheese cloth, waffle, canvas). They are hand-dyed and hand screen-printed with original illustrations and text. The pages are collaged together using applique techniques and a sewing machine, all bound with pigskin leather. The cover is reverse appliqued, and hand-embellished.