For this piece I wanted to focus on the notoriously clean process of Book Making, and to record it in a way that addresses and juxtaposes the tradition of making Artist Books. I wanted there to be a clear distinction between the types of papers used, to have rougher paper compared to thinner and smoother, and how the ink would transfer to each one, how it made the paper either easier or harder to pick up resulting in more or less contact. Smooth Bristol paper layered between transparent sheets of architectural drafting paper allows for a changing of image from each movement of the page to the next. I also do not feel the need to personally mark the book with my name as each page has a variable of my singular identity all over it.
The fingerprints create a history of a performative action. As the pages are turned the history of the piece evolves and is ever-changing. From each page to the next the story is not the same, and with the varying paper types, the history of what came before and after is visible sometimes in the present. The use of the ink also made me begin to consider more heavily not only how I grab the papers, but how I pick them up, hold them, how I set them down, my interactions with the pages and the immediate world around me became highly considered in relation to the filth on my hands. I had to not only consciously think about how I interacted with the materials of this Book, but also consciously working to interact with them as naturally as possible. This piece, is the product of that performance.