Artboard Ink, Ltd / Rare Hare Creations ~ Arizona
(Pamela S. Wood)

Paper Dream
By Pamela S. Wood
2004. Edition of 12.

4 x 3.75" pop-up construction using commercial handmade papers and embroidery floss. The embroidery resembles the contrails from airplanes. Two clouds open up to reveal the story. Ribbon tie.

A sheet of paper who thinks he [sic] can fly. With the help of the artist, he does.

Pamela Wood: "As with flight, a dream takes passion to become reality. You gotta believe! "
$150

Bound
By Pamela S. Wood
Tempe, Arizona: Artboard Ink, Ltd / Rarehare Creations, 2002. Edition of 2.

3.5 x 3.5 x .25"; opens to 16.8"; 5 concertina pages. Handmade paper: abaca with silk inclusions. Sewn letters and sewn handmade envelopes. White embroidery floss closure.

Pamela Wood: "This book was a response to my surgery in May of 2002. Major surgery is scary, but the removal of a part of one's anatomy that makes one feminine was troubling to me. Would I still be a woman? The envelope is only for me to know, are my private supplications at the time. The white was being tight, like "white knuckle" scared."

Edward H. Hutchins' review, "Finding Release in a Bound Book": Bound ... is experienced by unwinding turn after turn of white embroidery floss that secures the flaps of a portfolio made of creamy white, handmade abaca paper with kimono silk inclusions. Inside, five concertina pages unfold and on each is a card with a stenciled letter from the title, as well as a miniature envelope, glued and sewn tightly to the page. The envelopes are bound so that their contents cannot be revealed without destroying the book."
$250 (Last Copy)

Everything Stops for Tea
By Pamela S. Wood
Tempe, Arizona: Artboard Ink, Ltd / Rarehare Creations, 2002. Edition of 2.

7.5 x 5.75" closed; 12" extended; one double page spread. Pop-up. Original bookcloth created by the artist. Ribbon closure.

Pamela Wood: "My interpretation of Tea. High tea is precise and has many traditions. I tried to include as many visuals as possible. Floral tablecloths, lace doilies … tea bags and steam. One [text block] contains a run-on sentence of every kind of tea I could find. The second has some tea quotes from Alice in Wonderland, the most famous story with tea as a focus."
$250 (Last Copy)

The Mythical Science Book
By Pamela S. Wood
1998.

4.5 x 6.375" accordion structure; extends to 36".

Wood developed this book for a show on science. First came the idea of a "science book" then came the planets and then the mythical part.

Pamela Wood: "I researched the planets names and the myths attached. I really enjoyed doing the color drawings. The gold foil was part of a process that used the laser heat to transfer it to the black toner. I had to stop using it, the laser repair guy was rather miffed at me, as was my husband. Harmony prevailed, no more gold transfer.

"I have always been fond of this book, simple as it is."

"My books contain my own drawings and writing. I use designs that I have engineered to convey the best use of space for my specific idea. I combine many materials and commercial papers, as well as my own handmade papers. I use either hand lettering or laser printing. The choice depends upon which expresses my idea best. I then develop a mockup of the book for placement. After this, I proceed to use my bookbinding skills of covering the boards, gluing, folding, and sewing the final piece."
$100

Color by the Book
By Pamela S. Wood
1997. Edition of 10.

6.5 x 4". Star binding with a sewn non-adhesive spine and a glued fore-edge. Folded paper spacers in the spine area. Woven color strips on each page. Strips are hand painted on water color paper. Pages of wove made paper. Laid paper for the covers and the supporting boards between the star points.

This edition of 10 books is based upon Josef Albers' Interaction of Color.

From review by Joe D'Ambrosio in Artists' Books Reviews, 2001: "In the weaving of the colored papers, Pamela Wood chose to use the same horizontal color on every page because the eye needs constancy to read a line of type. By training itself on a distinctly colored horizontal line on ever page of text, it is as if the eye is being told what to do—and it does what it is directed to do. It is interesting that the horizontal color is not the same in each book of the edition. This tells me that the color is not as important as the fact that it remains the same throughout that particular book. The vertical colors vary and thus become the fabric of the story simply by their being where they are....The woven colors reflect communication through which imagery suggests emotion and mood."

Pamela Wood: "In 1997 I was invited to show at the Interchurch Center Gallery at Columbia University in NYC. I had done a series of two-dimensional work on the Albers' color theory. I added these 10 sculptural artists' books."
$250 (Last Two Copies)