© 2018 Louise Levergneux, a Teddy Bear Cholla cactus in Arizona

Vibrant Group in Tucson, Arizona

February 25, 2018

Keeping in contact with artists and people is important in life, but it seems more significant as one travels.travels.

When emailing back and forth with Helen Hiebert about contacts we knew in Texas and groups in our paths... Helen mentioned an extremely active group worth visiting while in Arizona.

PaperWorks provides educational and creative opportunities for all who love paper works, work with paper, and work on paper. Members and committees promote the appreciation and enjoyment of the paper and book arts. They do so through monthly meetings, workshops, programs, classes, and exhibitions by members. The group also gives scholarships for students studying paper arts and even donates art supplies to a selected charity. PaperWorks presents workshops from artists like Helen Hiebert, Karen Hanmer, Shawn Sheehy, Daniel Kelm, Daniel Essig, just to name a few.

PaperWorks is a virtual association with a huge number of creative and inspiring members who meet on the second Thursday of the month, which I missed! I was a few days short of meeting at least one hundred of the members who come for information, networking, and all the opportunities that may be available. These meetings are open to members, guests, and the public free of charge.

© 2018 Louise Levergneux, PaperWorks has a published journal produced by members who volunteer for the job.

Check out the wonderful artists’ books in accordion structure by Carol Rawlings on page 19 of the latest PaperWorks Journal.

After an email to PaperWorks, I coordinated coffee time with Vice President Linda Penny and Treasurer Cherrie Lucerne-Martin. They were both very approachable and open to discuss the organization and their own work.

For example, Linda enjoys exploring all art media—collage, bookmaking, jewelry, stitching, mixed media, photography...

© Linda Penny, All That's Left, one-of-a-kind artists’ book — © Linda Penny, All That's Left, one-of-a-kind artists’ book

© Linda Penny, All That's Left — © Linda Penny, All That's Left

I typically focus on one or two media for a while and then move on to something else, eventually returning to something I’ve done before, often taking it in a new direction or simply refining the process. A workshop or new art material can also inspire me to explore something entirely new. I am a teacher, both by profession and with respect to my art. Linda Penny

© 2018 Louise Levergneux, Clear Quartz and Citrine at the Gem Show

What and where will my journey bring me next—I will be in the Sedona, Arizona area for the next month. If you would like to meet or you have an organization that might interest me, please email me the information.

Tucson, Arizona

February 18, 2018

I enjoy meeting artists as I travel across the US and Canada. To my pleasant surprise, after emailing Barbara Grygutis for permission to feature her work on my last post, I received an affirmative answer to my request for a studio visit.

© 2018 Louise Levergneux, Barbara Grygutis' studio — © 2018 Louise Levergneux, Barbara Grygutis' studio

Her studio in Tucson is at the back of a historic building inside a greenish cage, as Barbara calls it. It was a delight to walk through the wood and glass doors and enter Barbara’s space.

The studio is considerable and airy, with multiple areas, each with a different purpose: spot for the printer, a place for administration, a corner for the computer-assisted design specialist who turns her ideas and designs into computerized renderings. A large shelf with archives of maquettes/models and workstations everywhere... I was given a complete tour of her studio and the first look at some of Barbara’s up-coming public sculptures.

Stuff is widely distributed and filled with the characteristics of Barbara’s work and personality.

Amazed to see the architectural drawings and maquettes for such work as Front Row Center and Sonoran Passage in Tucson.

© 2018 Louise Levergneux, Barbara Grygutis' studio, maquette for Front Row Center — © 2018 Louise Levergneux, Barbara Grygutis' studio, maquette for Front Row Center

Large drawings of new work in progress covered windows and walls. Notes or changes had been made directly on the drawings. The stories and connection to their environment were shared... We talked about the desert and how it related to some of the pieces as in Sonoran Passage where pleated and tapered columns look like stylized saguaros.

© 2018 Louise Levergneux, Barbara Grygutis' studio, sketches and images for Sonoran Passage — © 2018 Louise Levergneux, Barbara Grygutis' studio, sketches and images for Sonoran Passage

I went back on 22nd Street to view Sonoran Passage from below the Parkway. These works of art are best viewed at all angles to understand the connection and interaction to the spaces.

© 2018 Louise Levergneux, Sonoran Passage by Barbara Grygutis from 22sd street

As one of the nation's most sought-after sculptor, Barbara impressed me with her openness to share and her warm welcome.

© 2018 Louise Levergneux, à bientôt Barbara Grygutis

Thanks Barbara for a wonderful tour and looking forward to Happy Hour next year!

Texas and Arizona—Environmental Sculptures

February 11, 2018

A public art piece in Ohio entitled Garden of Constants made me curious about Barbara Grygutis' other works. So far, I have visited two pieces in Texas, Leon Creek Crossing in San Antonio and Silver Lining in El Paso.

Leon Creek Crossing created in 2016, is a layered, multi-dimensional work of art designed for the Hausman Road Bridge at Leon Creek Greenway in San Antonio, Texas. The artwork brings images from the natural shapes of the riparian plant community up from below to create an inviting pedestrian walkway along the otherwise concrete bridge. The canopy of the passage echoes the tree canopy along the Leon Creek Greenway below.

© 2017 Louise Levergneux, Leon Creek Crossing by Barbara Grygutis, seven aluminum units, each 14’ H x 14’ W x 10’ — © 2017 Louise Levergneux, *Leon Creek Crossing* by Barbara Grygutis, seven aluminum units, each 14’ H x 14’ W x 10’

© 2017 Louise Levergneux, Leon Creek Crossing by Barbara Grygutis, a series of seven arched sculptures, evoking natural shapes, combine to form a sculptural space through which the viewer passes — © 2017 Louise Levergneux, *Leon Creek Crossing* by Barbara Grygutis, a series of seven arched sculptures, evoking natural shapes, combine to form a sculptural space through which the viewer passes

© 2017 Louise Levergneux, Leon Creek Crossing by Barbara Grygutis — © 2017 Louise Levergneux, *Leon Creek Crossing* by Barbara Grygutis

© 2016 Katie McCann, Leon Creek Crossing by Barbara Grygutis, at night, Leon Creek Crossing is lit from within to create vibrant blue color effects, integrated light — © 2016 Katie McCann, *Leon Creek Crossing* by Barbara Grygutis, at night, Leon Creek Crossing is lit from within to create vibrant blue color effects, integrated light

We drove to El Paso, Texas to see Barbara's Silver Lining. Fourteen identical sculptures created in 2009, emanate computer-synchronized kinetic light. They are sited on the second story of the El Paso Civic Center to create an elevated pedestrian promenade, which circles the civic center. The circa 1964 building becomes the canvas for a shifting display of brilliant colored light.

One can no longer walk through the sculptures as the second floor is barricaded. I shot my photos from the barricade and the stairs. It is unfortunate that the city has permitted this building to fall into disrepair. Barbara's sculptures still look good!

© 2017 Louise Levergneux, Silver Lining by Barbara Grygutis — © 2017 Louise Levergneux, *Silver Lining* by Barbara Grygutis

© 2017 Louise Levergneux, Silver Lining by Barbara Grygutis, fourteen sculptures, 18’ H x 6’ D x 6’ W — © 2017 Louise Levergneux, *Silver Lining* by Barbara Grygutis, fourteen sculptures, 18’ H x 6’ D x 6’ W

© 2009 Vanessa Monsisvais, Silver Lining by Barbara Grygutis, computer-synchronized light — © 2009 Vanessa Monsisvais, *Silver Lining* by Barbara Grygutis, computer-synchronized light

While traveling through Tucson, last December, I had a chance to view Front Row Center built in 1999, at the University of Arizona. Front Row Center, the environmental sculpture consists of ten bronze chairs and five small amphitheater units used during outside performances and gatherings.

© 2017 Louise Levergneux, *Front Row Center* by Barbara Grygutis, integrated into the front landscape of the Marroney Theatre at the University of Arizona Fine Arts Department

© 2017 Louise Levergneux, Front Row Center by Barbara Grygutis, 12'H x 3'W x 3'D, fabricated sheet bronze, handmade tile, landscape — © 2017 Louise Levergneux, *Front Row Center* by Barbara Grygutis, 12'H x 3'W x 3'D, fabricated sheet bronze, handmade tile, landscape

© 2017 Louise Levergneux, Front Row Center by Barbara Grygutis — © 2017 Louise Levergneux, *Front Row Center* by Barbara Grygutis

We are back in Tucson, Arizona, and serendipitously to my surprise while driving on Kino Parkway I saw Sonoran Passage a sculptural treatment of the major interchange bridge connecting Kino Parkway over 22nd Street.

This gateway constructed in 2015 is the entry point to downtown Tucson and the University of Arizona from the airport. It includes 14 large sculptural elements integrated into the overall layout of the bridge. The bridge piers echo the sculpture forms’ design. The inspiration for this cohesive artwork was the cross-section of the Saguaro cactus, uniquely native to the Sonoran desert setting. Pedestrian rail arches additionally pull together all of the sculptural elements of the bridge. The sculptures are lighted at dusk creating a safe and welcoming atmosphere for commuters around the clock.

© 2018, Louise Levergneux, Sonoran Passage by Barbara Grygutis, 40’ H x 100’ L x 60’ D, aluminum, concrete, light — © 2018, Louise Levergneux, *Sonoran Passage* by Barbara Grygutis, 40’ H x 100’ L x 60’ D, aluminum, concrete, light

© 2018, Louise Levergneux, Sonoran Passage by Barbara Grygutis — © 2018, Louise Levergneux, *Sonoran Passage* by Barbara Grygutis

© 2015, Katie McCann, Sonoran Passage by Barbara Grygutis — © 2015, Katie McCann, *Sonoran Passage* by Barbara Grygutis

Barbara’s sculptural environments enhance our surroundings and reveal unspoken relationships between nature and humanity. She engages the public through her works of art by identifying themes meaningful to each specific site and community. With over 75 large-scale commissioned works of public art throughout North America, Barbara is recognized internationally for her sculptural environments.

When you look at a city from a different and new perspective, one can find the most extraordinary phenomenon for the mind and eyes.

Looking forward to visiting other cities that have commissioned Barbara’s work.

California Palm Trees

February 5, 2018

Where to go when Texas gets cold? California!

We settled in and reconnoitered the place as we drove around the desert. Traveling in the Thousand Palms Canyon of the Coachella Valley, we found the most delightful haven—the Thousand Palms Oasis.

© 2017 Louise Levergneux, Thousand Palms Oasis

Everything is silent in the oasis and you can immerse yourself in the beauty and solitude of the magnificent palm trees.

Stepping into this sanctuary, I was startled by the unexpected lushness of the palms. I absorbed the feathery fronds and admired the stately trunks soaring 60 feet high.

Like all palms, the Washingtonia filifera, isn’t actually a tree at all, but is related to grasses and bamboos. Rather than sprouting growth rings, a palm is basically a column that sucks water from the roots to its sprouting crown via a series of drinking-strawlike tubes. The palm trees of this oasis feed on water from the San Andreas Fault line.

© 2017 Louise Levergneux, Thousand Palms Oasis, the skirt of dried leaves hanging down the trunk of the native California fan palm is more than a fashion statement; it’s a home to animals who help the palm propagate

To experience the magnificence of the Preserve, one can trek a two-mile round trip that takes you through a palm oasis, across the fault zone, through a desert wash to the McCallum Oasis, one of the largest groves of desert fan palms in California.

We were enjoying the trek, our boots filling up with desert sand. I stepped on a tiny rock twisted my ankle and my face hit the ground. Argh!

Remember the two-mile round trip, we still had the one mile back to the parking. Yeow!

© 2017 Louise Levergneux, Thousand Palms Oasis, all these photos were shot before the fatal kiss the dirt act

Charles Hobson created a marvelous limited edition artists’ book entitled Trees and it includes a poem by W. S. Merwin. Merwin’s poem is soft and contemplative and conveys a sense of quiet awe as he looked into trees from a mysterious time and place.

© 2010 Charles Hobson, Trees, an edition of thirty copies

When the book is opened, one can read the poem by standing up the first pages and using it to prop each page against it as the pages are turned.

The small tree in the opening at the front of the book is used to suggest the beginning of a recollection of trees in some distant, remembered time, following one of the threads of the poem.

When "accordion’d-out" the book offers a succession of palm trees that can be positioned on different sides of the standing pages, giving a front and back view of the same image. A large architectural model palm tree sits in the window cut in the last panel which is backed by a transparent image of the night sky.

© 2010 Charles Hobson, Trees, 16 pages, 4-1/4 x 12 x 2 inches — © 2010 Charles Hobson, Trees, 16 pages, 4-1/4 x 12 x 2 inches

The monotypes of palm trees are reproduced as high-resolution digital prints on transparency film. The monotypes lay over the words of the poem, which have been set letterpress to follow the shape of the palm tree trunks – the words of the poem climbing the trees.

When one shines the flashlight on the tree and through the opening at the back of the book, the light projects mysterious shadows of trees against the luminous night sky.

The book can be oriented in several ways, much as the poem offers subtly varied interpretations. Setting it on its side presents the type reading from left to right (rather than up and down), but results in the trees having fallen.

A stop action animation about the making of Trees with Charles Hobson and Alice Shaw.

You never know what will inspire you and where you will find amazing, superlative ideas.

San Marcos, Texas

December 31, 2017

Sometimes, you find yourself in the right place at the right time. When I visited the Austin Book Arts Center a few weeks back, I did not know what wonderful opportunities would be presented to me. Some doors are worth opening!

I had the good fortune of meeting Craig Jensen a fine master craftsman. Craig produces custom designed housings and fine limited edition bindings. He executes bindings for some of the best-known libraries and private presses in the world.

It was an inspiring mid-day visit at Craig’s home and studio, BookLab II in San Marcos, Texas.

On arrival, a friendly four-legged muse—whose mission is to greet people—welcomed us with a smile. Most studios have a muse, a force who is the source of positive feelings in our space.

© 2017 Louise Levergneux, Craig Jensen's muse playing the "are they leaving so soon look"

Craig was generous with his time and shared his work stories and process in a natural open show and tell session. In front of his library filled with bindings and casing he has created, I was like a child in a candy store.

What would you like to see? Craig asked.

I thought any book will do, there was so much to choose from. Craig picked the first one, this book was the one Craig called the most technically difficult piece he had ever bound. Gaylord Schanilec's Lac des Pleurs, a study of the 22-mile length of the upper Mississippi River known as Lake Pepin, near Schanilec’s home in Stockholm, Wisconsin.

© 2017 Louise Levergneux, Craig Jensen talking about the process of binding Lac des Pleurs

© 2017 Louise Levergneux, Lac des Pleurs with full map open

© 2017 Louise Levergneux, Lac des Pleurs — © 2017 Louise Levergneux, Lac des Pleurs

On the many shelves of bindings a box covered in black Italian Canapetta lined with red rowlux caught my attention. Booklab II teamed up with Moving Parts Press to create the book DOC/UNDOC part of a grandiose collaboration between Guillermo Gómez-Peña and book artist Felicia Rice who created a work that stimulates all the senses.

© 2017 Louise Levergneux, a page of DOC/UNDOC

© 2017 Louise Levergneux, next, Craig displayed James Siena's book entitled Sequence One.

After a couple of hours, we went out for a healthy meal and lots of conversation.

Craig’s career began in 1977 when he was appointed Library Conservator for the Harold B. Lee Library at Brigham Young University in Provo, Utah. In, 1977-78 Craig interned at The Library of Congress Restoration Office under the keen direction of Peter Waters and Don Etherington to eventually become a bench conservator and bookbinder at The Library of Congress. In 1981, Don Etherington recruited Craig to serve as the Head of Book Conservation at the Harry Ransom Humanities Research Center Conservation Department at the University of Texas in Austin.

In 1984, Craig established the Jensen Bindery, for book conservation and box making, then focused on limited edition binding. Craig worked for Acme Bookbinding as Vice President of Imaging for a number of years then returned to the concept of a small book bindery, reestablishing a workshop, BookLab II, in 2003. After spending some time exchanging ideas and opinions with Craig, you can understand why he received the Lifetime Achievement Award from The Guild of Book Workers in 2011.

Here Craig is featured in the Oxford American: SoLost video series filmed by photographer and videographer Dave Anderson.

Craig Jensen demonstrates rounding and backing, techniques used in hand bookbinding with Olivia Primanis at the Conservation Department book lab of the Ransom Center, University of Texas, in 2009.

Guess who I met immediately afterwards—next week!

Tu dois juste ouvrir ton esprit à la rencontre de nouvelles expériences !

Southwest School of Art, San Antonio

December 17, 2017

Opening one's self to different possibilities does help to open doors. After my visit with Mary Baughman from the Austin Book Arts Center, I received a few emails from interested parties.

© 2017 Louise Levergneux, San Fernando Cathedral, San Antonio, Texas — © 2017 Louise Levergneux, San Fernando Cathedral, San Antonio, Texas

I responded to an email from Beck Whitehead, an advisory member of the Austin Book Arts Center to meet with her and Eleonore Lee, the Program Coordinator of the Southwest School of Art in San Antonio, Texas.

On Monday the 27th of November, after an hour trip to San Antonio, I met with both Beck and Léo (as Eleonore likes to be called) at the Paper-making and Book Arts Lab. At the end of my visit, Léo invited me to come next year and work in the lab using my equipment. Space would be nice—an actual space or studio time!

The Southwest School of Art is known for its visual arts education. It offers a Bachelor of Fine Arts degree, and studio art programs for adults, children, and teens. Graduates from the Southwest School of Art’s BFA degree program gain business, critical thinking, and studio skills necessary for careers as working artists and engaged citizens.

© 2017 Louise Levergneux, Southwest School of Art, printmaking lab

© 2017 Louise Levergneux, Southwest School of Art, printmaking lab, one of us Canadians has been there before!

© 2017 Louise Levergneux, Southwest School of Art, paper-making lab

© 2017 Louise Levergneux, Southwest School of Art, papers made by students

Léo received her BFA from The School of Art Institute of Chicago and earned a MA and MFA degree in Printmaking from the University of Iowa. Her areas of specialization include printmaking, book arts (binding, typography, paper-making) and collaboration. Léo has exhibited, both nationally and internationally. Her work is included in numerous publications and permanent collections.

© 2017 Louise Levergneux, Southwest School of Art, Léo demonstrating one of the presses

Beck Whitehead received a BA from Trinity University and a MFA from the University of Texas at San Antonio. She retired after 30 years of teaching at the Southwest School of Art. In addition, Beck taught workshops in paper-making around the US and Canada. She creates paper paintings and one-of-a-kind books.

© 2016 Marvin Pfeiffer, San Antonio Express-News, Beck Whitehead with “Column I,” “Column II,” and “Column III” in her exhibit titled “Beck Whitehead & Pulparazzi,” handmade paper and pulp painting

Thank you, Beck and Léo for showing me around the labs. Another Texan welcome!

Texas, Y'all

December 10, 2017

We entered Texas on the 30th of October after some cold weather in Ohio, Kentucky, and Tennessee, arriving in Austin on Halloween night. We stayed with friends and schmooze-docked in their driveway while we oriented ourselves around Austin.

After ten days we found a place to park our trailer at the Rio Guadalupe Resort, this was central to the locations we wanted to explore.

© 2017 Louise Levergneux, a family of deer around Canyon Lake, Texas, I became fond of seeing deer every day

During the last month and a half while in the Canyon Lake region, I reconnoitered my visits to different collections and book arts organizations. I received the full Texas welcome.

To become a full Texan one has to master the “Y'all” term—not an easy feat for a French Canadian.

I started by searching online and found The Austin Book Arts Center. The East Austin Studio Tour weekend was taking place, which gave me the chance to meet members of the book arts community.

My first contact with Mary Baughman, a member of the board of directors of the Austin Book Arts Center, was rewarding. At the end of my exploration of the Center, Mary emailed several people of my séjour in the region. Interest rose when the knowledge of a Canadian visitor was in their midst.

The Austin Book Arts Center offers workshops in book arts, letterpress printing, bookbinding, paper-making, typography, book history, and design. In addition, ABAC provides access to equipment for qualified users during scheduled Open Studio times.

© 2017 Louise Levergneux, The Austin Book Arts Center, the available equipment includes a 32″ board shear, a paper guillotine, a Kwikprint, and various nipping presses, and sewing frames

Through its activities, ABAC seeks to advance the book as a vital contemporary art form, preserve the traditional and robust crafts related to making books, promote the contemporary arts of making books, inspire diverse artists and learners, and engage the community in creative, interpretive, and educational experiences, including literacy for people of all ages.

© 2017 Louise Levergneux, The Austin Book Arts Center, in the print-shop part of the center, you will find a No.4 Vandercook, a SP15 Vandercook, a Universal I Vandercook, an 8x12 Chandler and Price platen jobber, and several tabletop platen presses

© 2017 Louise Levergneux, The Austin Book Arts Center

I took the time to look into the Flatbed Press and Gallery next door to the Austin Book Arts Center.

© 2017 Louise Levergneux, Alfonso Huerta, Painter and Printmaker, was giving a demonstration of his printmaking abilities. — © 2017 Louise Levergneux, Alfonso Huerta, Painter and Printmaker, was giving a demonstration of his printmaking abilities.

© 2017 Louise Levergneux, the Flatbed Press and Gallery

I had a full month of meeting artists and library contacts, with more details coming in future posts. Fun and exciting days!!

Thanks Y’all !!

Québec, troisième partie

November 5, 2017

As I traveled across the border, a dear friend I visited back home caught up with me by email. After our visit, Marc Walter traveled to Germany for his own work and our emails did not meet till now.

Traveling on chemin Carouges in Val-Des-Monts, Québec, getting closer to Marc's cottagechemin Carouges in Val-Des-Monts, Québec, getting closer to Marc's cottage

Marc’s work evolves around the passing of time and the way humans relate to it. With this in mind, I felt, I should feature his work even though out of sequence.

Originally from Paris, France, living for the last twenty four years in the Outaouais in Canada, Marc is an artist who reoriented his practice to environmental art in 2004. The recurrent themes found in Marc’s site-specific work in many forms and materials are evolutions, passages, departures, and memories.

Prolific in his field, he won the Grand prix d’excellence de la Fondation pour les arts, les lettres et la culture en Outaouais in 2007. Marc has taken part in over 80 solo and group exhibitions both in galleries and in the context of outdoor nature art events.

© 2017 Marc Walter, Animaleries, Weaselling France

© 2016 Marc Walter, À Voix Basse / Under Your Breath, Ottawa, Ontario

© 2015 Marc Walter, Embarking, Nanaimo, BC

Marc is intrigued by how the creation of a piece or space will alter a visitor's perception and bring an emotional response. Even for a short time, visitors become dwellers, reflecting upon the site, its history, and their own path.

Marc prepares proposals, administers his business, manages his photos, exchanges emails, and other communications in this space. His real studio is in the outside world where he creates a different piece depending on the land.

Le véritable atelier, c’est là où je crée, à chaque fois différent !

Artistic walls inspired by the walls of the original Dubois Farm (now Creative Wheel), in Val-Des-Monts.

© 2017 Marc Walter, an artistic wall drawing submerged lines with half-buried rocks — © 2017 Marc Walter, an artistic wall drawing submerged lines with half-buried rocks

© 2017 Marc Walter, another way of building walls, this time lighter and in narrow link with the perception of the surroundings — © 2017 Marc Walter, another way of building walls, this time lighter and in narrow link with the perception of the surroundings

© 2017 Marc Walter, a platform higher in the mountain with a structure from rock sticks of beaver

Marc explains his project and his vision of “art du paysage” or Land Art. With materials pulled by nature and passersby, Marc creates human forms which arouse the curiosity of tourists and “carcassonnais”.

J'expose mon projet et ma vision du 'Land Art' ou art du paysage. Avec de la matière tirée de la nature et l'aide de bénévoles de passage, je crée des formes humaines qui suscitent la curiosité des touristes ou des carcassonnais.

Produced by Danaka Wheeler, filmed by Marc-André Cossette and Lyndsay Armstrong, edited by Brea Elford from the Carleton University School of Journalism and Communication.

Marc's world brings you into another dimension!

Welcome Bienvenue

Hello, my name is Louise Levergneux, I’m a book maker. This blog is where I share and reflect on the approaches and structures used in my creative process, artists' books, photography. and more...

Your comments and stories are welcome.

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