(Blank Book II)
This book-object was constructed by reinforcing a sheet of burlap with cotton embroidery floss, inspired by kogin sashiko. Though the technique I used is different, the idea of thickening and reinforcing a coarsely woven fabric through manually stitching around the woven threads is what led me to this approach. Originally this method was used to better prepare fabric to be made into clothing for cold winters as this style is primarily found in the Aomori prefecture in Northern Japan (Futatsuya, “Kogin Sashiko: Another Ramification of Sashiko”). Unique diamond-shaped motifs are typically used, whereas my reinforced burlap ended up with a checked pattern since I wove over and under each original jute cord instead of in a more complex sequence, as is used in kogin sashiko. This sewing process was mostly performed in the company of my great-grandmother.
The interior of the book-object features published pocket-size music notation paper alternating with monotype prints from a small wobbly staff line lino block. The paper used, both kraft and manila, echo the colours found in the cover. I used printmaking ink and gouache with a brush to create organic, noisy textures during the printing process, and the colours graduate from one print to the next.
The binding style combines the simple single-sheet zine technique used in Book Piece to create the signatures that were then sewn directly to the cover. The result is a dynamic object that can be displayed in a variety of ways, such as with the cover draped over a plinth or folded to create a platform for the book.
Cotton and jute cover, hand stitched, bound with synthetic fiber; gouache and printmaking ink on paper interior.
Camille Kiku Belair 