“I have always had a fascination with reference books, specifically dictionaries,” says featured artist Amy Rabas of her favorite books. “I read them leisurely for inspiration, starting and stopping at random places.” She chatted with us about book-binding, the deconstruction of nature, and finding time as an artist.
Q: When did you begin working as an artist?
“I have always been an extremely creative person and have worked professionally in arts-related fields for a number of years. After receiving my BFA in graphic design from the University of Wisconsin at Stevens Point, I moved to Seattle and took a job as a designer with a branding and communication design firm. After a couple of years behind a computer screen I realized that I was going a bit stir-crazy and needed something more hands-on. I moved to rural eastern Washington to take a job at small hand-bindery and letterpress print studio associated with a publishing and design firm that focuses specifically on art books. I apprenticed and trained with an established bookbinder and letterpress printer for about a year to better hone my skills. When she left to pursue another opportunity I took over as the manager of the shop.
“I moved to Chicago for graduate school in 2009 and am currently working toward my MFA in Interdisciplinary Book & Paper Arts at Columbia College Chicago. I consider myself primarily a designer and a craftsperson and am slowly becoming more comfortable accepting the title of ‘artist.’”
Q: What was it that attracted you to working with paper and book making specifically?
“The tactile nature of book construction is what initially drew me in. It requires a great deal of hand and technical skill and is often a very slow and tedious process. For someone who is as meticulous and detail-oriented as myself, it really is a perfect fit!”
Q: What are some of the things that inspire you and your work?
“I’ve always had a deep fascination with the natural world. I watch nature documentaries almost religiously and collect animal bones, shells, feathers, quills, antlers, bits of vintage fur, and other curiosities.
“In my most recent work, I am investigating the de-naturalization of animals and animal-derived materials. I have been inspired by hybrid animals, the fashion leather industry and devices that mimic animal sounds, such as the deer and duck calls used by hunters.”
Q: What was the inspiration behind The World We Live In?
“The World We Live In is an altered book, created from an original of the same title. My goal was to create a new work that referenced the overall theme and concept of the original. The original book, published by Time Life in 1955, is essentially a layman’s science book covering all facets of the natural world. Using the interior pages of the original book, I constructed a sculptural piece that fans out into a circle, referencing the physical shape of the earth as well as the cyclical quality of nature.”
Q: Can you describe the process of binding the project? It looks like a difficult/intricate binding, being so large.
“The structure itself is fairly straightforward and is generally referred to as a ‘coptic binding.’ The stitches link together, forming chains of thread that hold each signature (folded group of sheets) in place. Though the sewing itself took a number of hours to complete, the task that proved most difficult was keeping the signatures perfectly aligned throughout the binding process.”
Finally, the following questions are part of a questionnaire we send to all of our featured artists:
Q: What is your all-time favorite book?
“I don’t have a single favorite, but I have always had a fascination with reference books, specifically dictionaries. I read them leisurely for inspiration, starting and stopping at random places.”
Q: What was the last book that you read?
“Becoming Animal: An Earthly Cosmology by David Abram.”
Q: What one word do you love?
“Supernatural.”
Q: What one word to you despise?
“No.”
Q: Often, when crafting a piece of work, artists and writers strive to please or impress a very specific one-person audience, be it their mother, their spouse, or a high school teacher. Who were you thinking of in this way when you were working on The World We Live In?
“I truly made this book for myself. Back in 2008, when I completed the piece, I was working at a small hand-bindery and letterpress print shop in rural Washington. One of the perks of the job was unlimited access to the amazing studio facilities and equipment. One of the downfalls was that after a long day of designing and binding books for clients I was often too physically and mentally exhausted to work on my own personal projects. Eventually, I made a commitment to myself to spend at least an hour a day making work for myself, no matter what. This commitment helped me achieve a healthier balance in my life and lead me to the decision to pursue my MFA.”
Thank you so much, Amy!
