A palimpsest (/ˈpælɪmpsɛst/) is a manuscript page, either from a scroll or a book, from which the text has been either scraped or washed off so that the page can be reused, for another document. Parchment and other materials for writing or engraving upon were expensive to produce, and in the interest of economy were re-used wherever possible. In colloquial usage, the term palimpsest is also used in architecture, archaeology, and geomorphology, to denote an object made or worked upon for one purpose and later reused for another, for example a monumental brass the reverse blank side of which has been re-engraved.
Coptic binding or Coptic sewing comprises methods of bookbinding employed by early Christians in Egypt, the Copts, and used from as early as the 2nd century AD to the 11th century.
The Codex Gigas (English: Giant Book) is the largest extant medieval manuscript in the world. It is also known as the Devil's Bible because of a large illustration of the devil on the inside and the legend surrounding its creation. It is thought to have been created in the early 12th century in the Benedictine monastery of Podlažice in Bohemia (modern Czech Republic). It contains the Vulgate Bible as well as many historical documents all written in Latin.
My work is interdisciplinary, combining art and science to explore the complicated history and future of anthropogenic effects on the Earth’s systems. Through handmade paper, artist’s books, and environmental works my practice navigates our planet from atmosphere to core, examining ecological history and visualizing predictions of future global change. My work encourages the audience to look, touch, smell, and taste, providing an experiential introduction to the complexities of ecology. My practice is more than environmental art; it is a political statement, a rejection of industrial modes of production and an embrace of hand papermaking as a worthy artistic medium. Through hand papermaking, in the words of William Morris, I seek to “help to keep alive memories of the past which are necessary elements of the life of the future, and methods of work which no society could afford to lose.”* The work exists at the intersection of art and science, or more specifically, of community and environment. In art and life, the embrace of the handmade vs. machine-made is an anti-capitalist gesture with strong ties to Environmentalism, both seeking “the general movement towards freedom of life for all,”* humans and non-humans alike.
An independent graphic designer focussing on art books and art-related material, and is based in Cape Town, South Africa.
I approach art making in the manner of a Victorian naturalist by attempting to name the unnamed and gain an understanding of the world through documenting and cataloging. My work explores a range of topics including systems of thought associated with archives and other collections, natural history artifacts and the rituals of organization. My works are artificially constructed archives; they are documentary objects created in the context of becoming the very thing they document. My approach to language as a tool to navigate the spaces between experience, perception and memory focuses on creating important connective tissue. Language externalizes the interior life. It also harvests and distills the external world, drawing it inward. In my work, cataloging and taxonomy manifest themselves as textual ritual used to aid the viewer in better situating her/his self in the world. I am fascinated with lists, categories and collections and my work attempts to bring order to those things that are least easily ordered.