tannertan36
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Cosimo Galluzzi
Janaina Medeiros
will byers stan first human second
hello vonnie
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NASA
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TVSTRANGERTHINGS
todays bird
Claire Keane
art blog(derogatory)
AnasAbdin
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@jacquelinerushlee
Nous: There’s no why here 2014. Transformed Philosophy Book, Inks, Graphite. 13.5”x 12” x 9” Special thank you to @sophiegunnol for sharing my Artwork, and to those of you who follow and support my Art. I appreciate it. #jacquelinerushlee #contemporaryart #contemporaryart #contemporarycraft #designindetail #artinhawaii #conceptualcraftinhawaii https://www.instagram.com/p/B3VAMSUF1vm/?igshid=8tdw8c7pp0g5
Jacqueline Rush Lee, Book Sculptor (via Vimeo)
Penland Whorl 2016 From Whorl series
Bottom Image: Original tree Whorl removed from “whorl-bombed” tree, HI
www.jacquelinerushlee.com
The WHORL Series is an ongoing body of site-specific work that was initially started in 2013. A sculptural book form is inserted into the cavity of a tree to simulate a whorl in a tree hollow. Over time the books return to their botanical origins and are gradually subsumed by nature. “Painted’ by a natural patina of mold and encased in termite spit, the forms become petrified and wood-like, with traces of their former texts still present, but resembling cultural artifacts. Time, changing weather conditions, and insect activity re-write the narrative of the original books. As iconic vessels of culture, knowledge, and classification systems, WHORL resonates as an imprint on how we leave our mark on nature, and how nature eventually leaves its mark on us a larger, comprehensive system at work
Some recent artworks I created while Artist-in-Residence at the Penland School of Crafts, and as a fellow at the Hambidge Center for Creative Arts & Sciences, Georgia, this year. At Hambidge I focused on creating site-specific works with paint from my “Painting the Landscape” series. More details on my website www.jacquelinerushlee.com
Landscape Book (Fired Book) 2017
Fall Line(s). From “Resurgence” Painting the Landscape Series, 2017. Site-specific Installation of draped Paint installed within the interior of the Spring House, Hambidge Center, Georgia. (Exterior of Spring House pictured).
Floating Landscape Sky Blue Paint on Water 2017. Dye Shed Ruins, Hambidge Center, Georgia
And just because it’s summer...
Some artworks from my “Summer Reading Series,” 2010
Transformed Asian Literary Texts, Hand-Stitched, Splashed Sumi-e Inks.
Photography: Paul Kodama & Jacqueline Rush Lee
I am one of 5 artists showcasing artworks in this exhibition “Metamorphosis: The Art of Altered Books” at the Fuller Craft Museum, MA. Opening July 30 - November 6, 2016.
I have 5 book sculptures in the exhibition that are inspired by traditions, but blur genres and challenge notions about what a crafted object should be.
...“Jacqueline Rush Lee defies our expectations of what books can and should be with fecund meditations on nature and permanence. With a deft hand, Lee explores the material possibilities, drawing parallels between the life cycles of books and those of humans through forms found in nature”... Curator, Beth McLaughlin
Made in China Series 2013
Paper, Text, Ink
H18″ x W18″ x D15″
Photos: Paul Kodama, Jacqueline Rush Lee
This work will be on view at the San Jose Institute of Contemporary Art in the exhibition “NextNewPaper,” as part of the ICA’s NextNew series where 17 invited artists use paper as their medium, creating works that highlight the endless ways that this material can be manipulated. Opening June 5th, 2016.
In this series I am intrigued by developing a form that does not suggest the fragile, delicate qualities of how one expects paper to be. Rather, I am interested in how paper can assume many identities. This series, like much of my sculptures with books, is a conceptual play on words and meaning
www.jacquelinerushlee.com
Process is a huge part of my work. As a sculptor who works with the book as my primary medium, I deconstruct the book form much like how a dress maker would strip apart clothing to understand the underlying pattern--and then re-construct the book(s); thus re-contextualizing the narrative. Here you can see a persistent theme of found and applied inks in my works, and the presentation of the fore edge facing forward as a perceptual way of ”entering into” the text. I mostly only use the components present in books, such as pages, inks, bindings, covers, etc., and re-scramble their formal and conceptual arrangement. Working intuitively with the books that I find; I experiment with various processes, and sometimes select books according to scale, colour, and texture, or as inspirational concept (book title). In addition to sketches, I work directly with materials (“drawing in three dimensions”), and also construct 3D maquettes and models if I am making an installation, or prepping work for a gallery installation of my work.
www.jacquelinerushlee.com
Philosopher Cups 2016. Jacqueline Rush Lee
Transformed Book Covers
Photos: Brad Goda
This series is part of an ongoing body of work with books related to the concept of “Elemental;” a body of work in which I am further exploring and deconstructing the book form to “essential fragments” to create new meaning. Like a zen koan, the body of the text is stripped away to create a tea bowl form; serving as an object of contemplation in how one’s inner space is part of a larger, reflective infinite space.
www.jacquelinerushlee.com
Strata. Jacqueline Rush Lee 2016
Transformed Books, Found & Applied Inks.
(Sister sculpture to “The First Cut” featured by @turecepcja on Tumblr)
H14″ x W12″ x D11″ Photos: Brad Goda & Paul Kodama
These artworks draw upon my Volumes Series from 2001, and the reticulated components of my Inked series of works started back in 2007. The forward facing fore-edges of the books with their closed off content and found inks have been highly distinctive visual elements found throughout my work with the book form from as early as 1999
www.jacquelinerushlee.com
@booksculptor on Tumblr
Instagram @jacquelinerushlee
Hawaii-based artist Jacqueline Rush Lee uses "book alchemy" to transform everything from encyclopedias to novels into beautiful works of art.
In honour of World Book day, here’s a #tbt feature article The Creator’s Project did about my book sculptures.
Featuring: Nous (There’s no why Here).
Transformed Philosophy Book. Photo: Paul Kodama
Jacqueline Rush Lee | Book Sculptor
“Whorl“. Distressed Book Sculpture 2014. (Part of an Ongoing Project)
H11.5″ x W7.5″ x D8″
Expressing ideas in veiled layers of meaning, my role as an artist is to remain open to the physical and metaphorical transformations that occur in my working process, and not be creatively bound to only one working style. Working with the nature of the discarded and used books that I find, or with processes that transform; these residual book sculptures emerge as a Palimpsest–a document that bears traces of the original text within its framework, but possesses a new narrative as a visual document of another time…
Book Sculptor: Jacqueline Rush Lee
Silenda (Black Sea Book) Jacqueline Rush Lee 2015
Transformed Peter Green Translation of Ovid’s “Tristia and the Black Sea Letters.”
H9.5″ x W12″ x D6.5.″ Manipulated Book, Inks. Photo: Paul Kodama
Commissioned by Robert Bolick, curator of Books On Books
The Tristia details Ovid’s exile from Rome by the Emperor Augustus, where he was exiled to Tomis on the Black Sea Coast for committing his famous “carmen et error.” Silenda is from the Latin for “mysteries” and “that which must be kept silent.” This book harbours secrets of betrayal and exile between its covers; for the famous carmen et error of which its Master cannot speak
Robert Bolick writes about the evolution of the book and book arts on his blog BooksOnBooks
The First Cut. Jacqueline Rush Lee 2015
Transformed Harvard Loeb Library Translation of Ovid’s “Metamorphoses.”
H7.75″ x W5.5″ x D6.5.″ Photo: Paul Kodama
One of two works commissioned by Robert Bolick, curator of Books on Books.
The Metamorphoses is Ovid’s epic poem about “bodies which have been transformed into shapes of different kinds.” With motifs of violence, punishment, reward, pathos, and lost speech dwelling within this classic tale, Ovid writes about human feelings in the face of the awful and the tender, the terrifying and beautiful, the violent and loving.
*Robert Bolick writes about the evolution of the book and book arts on his blog BooksOnBooks
Shrunken Encyclopedia: From Ex Libris Series 2000. Photo: Brad Goda
This is a book high-fired in a kiln without any clay or slip intervention. It is part of a series that I refer to as my “fossilized” books; in which I developed a technique to fire books and transform them in controlled kiln environments.
Utilizing conditions of chance, and controlled processes that allowed the hand, water, fire and chemical processes to sculpt the books further, I was intrigued by how the physical qualities of the books changed state. Each book was unique, revealing a range of surfaces, textures, page striations and subtle colours according to the temperature each was subjected to. Some were fragile, bloom-like forms or skeletal remains, while others were coral-like, with covers that were shell-like in feel with text, cover titles, and even book cover colours present in their new, warped state. I was intrigued by how the books were no longer recognizable in their usual context, but transformed into poetic remnants of their former selves.
…“Lee seems less to have changed the books than to have uncovered a physical state, as if books, like shells and bones, left behind a calcified framework…” Writer Elizabeth Waddell, Quarterly Conversation. See Elizabeth’s thoughtful and reflective essay about my work on my website. www.jacquelinerushlee.com
Artist with Pod. Buddhist and Children’s Book Pages.
Become like a child... From the Summer Reading Series 2010. Photo: John Hook
Unfurled 2007. Jacqueline Rush Lee Book Sculpture. Manipulated Book Components, Ink. Photo: Paul Kodama.
“..In this conceptual series of works, I like to think of the books as having been engulfed by the inks of their inner texts…“
In the Private Collection of Dean Geleynse, HI.