Lia and I have had our proposal to create a chapbook accepted by Saskatoon-based JackPine Press. We’ve been sitting on this information for a few weeks now, and have already told a number of people about it in person, but due to overwork and a certain amount of inertia hadn’t gotten around to announcing it on either of our blogs. Here’s the scoop.
The working title of the book is Cryptic Species, and will consist of Lia’s1 poems and my drawings. Thematically, we plan to integrate the anatomical- and body-centric themes of Lia’s recent work with some of my drawings that have a macabre and less metaphysically-serene quality than the work most people usually expect from me. That’s right: dark, moody, and a bit clinical.
This post contains supplementary material and/or clippings from my article about permanence of artists materials, published in the May 2007 issue of the CARFAC Saskatchewan Visual Artists Newsletter. That post can be found here: http://edpas.net/303/. I was originally planning to include information about conservation issues with digital printmaking, but that will have to wait for a future post.
This article originally appeared in the CARFAC Saskatchewan Newsletter in May 2007.
I attended the Permanence of Artists’ Materials: Paintings and Works of Art on Paper workshop presented by the Canadian Conservation Institute (CCI) in Saskatoon in March. The workshop was given by two CCI conservators: Debra Daly Hartin, a specialist in paintings, and Sherry Guild, whose expertise is with works on paper. The CCI is an agency of the Department of Canadian Heritage, and was created to promote the proper care and preservation of Canada’s cultural heritage and to advance the practice, science, and technology of conservation.