“Strikes each in each by mutual ordering.”
In this sonnet, harmony begins to look less like sameness and more like distinct parts held in relation.
This book doesn’t illustrate the poem. It tests it.
The cover, like all of my embroidered covers, works as a visual argument. Gold thread and sequins move across a black ground in radiating formations. There is no single center. The structure holds through relation.
Fourteen pages, one per line. 1950s barkcloth, 1960s polyester, sequins, linen, and a secondhand wedding dress. All cut, placed, and held together without collapse. The question wasn’t do these belong together, but can they intensify each other without canceling each other out?
Inside, the materials resist merging. Your eye has to move between them. That movement is where the coherence happens.
“Sweets with sweets war not.”
Only if they can hold.
Only if they can hold.
A single thread is a line.
A book is a concord.
A book is a concord.
Created with vintage fabrics, hand dyes, silkscreen text, deconstructed wedding dress.
14.5 x 10 x 2 in., 16 pages
Hand painted cotton with silk screen prints and linocuts, deconstructed wedding dress fragments.
1960s wedding gown by Murray Hamburger Company was the primary wedding gown deconstructed and used for the first three books of the series.
