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De l'un à l'autre (dans la compagnie d'artistes amis)
Patiemment mise en oeuvre par la main de l'artisan, la filière de la pensée se met en mouvement entre vergeures et pontuseaux. L'écriture trouve sa maîtrise en dévoilant ses scansions et nous parle ainsi du déroulement de la vie, des choses et des êtres qui nous entourent, sans pour autant imposer le chemin assuré vers une hypothétique voie lactée. Plus tard, le plomb dans l'attente de l'antique fusion, lettre après lettre, formera le mot et ses liens ; il en ira de même du pigment, et c'est pour la même pâte d'impression qu'ils seront fabriqués, assemblés, appliqués, afin de cristalliser un champ privilégié, le texte calé, ordonné dans sa page, tout comme l'image altern...
Dictionary of Artists
First English-language edition of Emmanuel Bénézit's Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs, based on the 14-volume French edition published in 1999. It has been revised, adapted and updated.--Preface.
The Complete New Techniques in Printmaking
Presents photographs of workshop precedures, diagrams, and reproductions of recognized masterprints.
Handmade Paper Today
None
Sur le pont Charles
This is a spectacular Labyrinth Press publication, their sixteenth, presented in a clear acrylic slipcase, printed in green and black, and the only Labyrinth Press title to present artwork by another collaborator, the Swiss artist Jean-Édouard Augsburger (1925-2008). A three panel paper sculpture folder and centrespread leaf by Augsburger are superimposed on etchings by Petr Herel. Pierre Chappuis is a major French-language Swiss poet, born in 1930, who lives in Neuchâtel; his poem was composed in Prague in April 1988. Frédérique Martin-Scherrer, in an essay on Thierry Bouchard and Petr Herel's Labyrinth Press collaboration, describes this title as "an object that suggests sculpture rather than a book." She notes that Chappuis's poem refers to meeting a blind person on the Charles Bridge in Prague and the darkening of the surrounding world that results-how does one then experience the beauty of spires, statues, greenery, and the bridge that one does not see? She suggests the deep embossing encourages us to see the book as a work accessible to the touch of those who cannot perceive the etchings.
