I’m pleased to report that an essay I co-wrote has been published in the journal Textual Cultures. Each collaborator details a project that troubles the relationship between books as content, text, and technology — for me, my bookmaking project “The Hollow“; for my fellow authors, an interactive edition of “Kubla Khan”, a remix of The Fall of the House of Usher incorporating social media, and an electrified altered text of The Owl and the Pussycat. I’m delighted to have had the chance to work with such smart, creative thinkers, under the guidance of the brilliant Kari Kraus.
You can read “Bibliocircuitry and the Design of the Alien Everyday” for free here, via IU ScholarWorks.
Natalie Joelle’s review of Amy Cutler’s exhibit “Time, the deer, is in the wood of Hallaig” is out in Dandelion, and she makes thoughtful mention of my book arts project “The Hollow“:
Carlea Holl-Jensen’s The Hollow is a handmade book that conceals part of its narrative between uncut bolts and folded quires. The work is unavailable for reading unless dissected, just as the age of a tree becomes legible only when felled. ‘The trees are just as tall as I remember, and they all seem to be leaning down to peer over my shoulder’, the text begins. The figure of leaning suggests the modern train passenger’s space – encroaching reading of another’s news; the attempt to access words at a remove. The Hollow’s attempted readers share this sense of trespass.
Trespass is also part of the aesthetic of the exhibition. In the low-lit space, a canopy of tree-pieces lean down over visitors’ shoulders as much as we lean inquisitively towards them. No forest clearing offers an unobstructed view, nor are there more landscaped prospects that offer the spectator scope to scrutinize without themselves seeming to come under scrutiny. Like The Hollow, the form of the exhibition stimulatingly performs the opacity and density of its forest subject. Cutler trusts the viewer to meet the challenge of concealment with commitment: to incline themselves as required by the tight space in order to cut their own path. The risk is that dim conditions and the pressure of proximity diminish some small press works. The interesting ambiguity of whether the reading stand or table display placement of works alongside The Hollow do in fact invite opening to read is also the logistical complication that these texts may be subject to either too brief a view or mishandled.
If, like me, you weren’t able to make it to Amy Culter’s exhibit ‘Time, the deer, is in the wood of Hallaig’ earlier this month, you’re in luck, because she’s put up an online catalogue of all the amazing work that was on display. There are some truly stunning art and artifacts in this collection, and I am both humbled and pleased to have been included in such marvelous company.
You can check out the entire catalogue here, or see my own entry here.
If you’re in the London area tomorrow, you should check out Amy Cutler’s exhibit Time, the deer, is in the wood of Hallaig, on view at St John on Bethnal Green from June 6-11th. My artist’s book, “The Hollow”, is there, in the company of some really amazing art and artifacts on the subject of forests and memory.