| Artworks/Artspace ~ Florida (Claire Jeanine Satin) |
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| Satin is fascinated with letters and scripts with the long tradition of alphabets and writing, rom ancient Germanic runic characters, to the products of Medieval scriptoriums ... | |
| Pentimento series | |
Water Book Il Libro Della Laguna Venezia (Secunda)
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| JCMCJJ / Dancers on a Plane, Bookwork XIV By Claire Jeanine Satin Dania Beach, Florida: Claire Jeanine Satin, 2006. One-of-a-Kind. 10 x 5.5"; 8 leaves. Aluminum, metallic ink, brass wire, aluminum discs. Bound at spine with brass wire. Claire Jeanine Satin: "Sometimes ideas gestate for a long time. For example, I saw Jasper Johns' paintings Dancers on a Plane many years ago, and then, suddenly, I used the title of these paintings as the title for a series of my bookworks. I love this title. It has great lyricism. I used it as a beautiful, visual metaphor for moving, for making marks across the plane." Krystyna Wasserman, Claire Jeanine Satin - Sources of Inspiration: "In addition to being the title of a series of paintings by Johns, Dancers on a Plane was also the subject of an exhibition and book devoted to the artistic collaboration and friendship between Johns, Cage, and Merce Cunningham. It was the egalitarian nature of this collaborative venture that especially impressed Satin. Each artist's contribution in his respective discipline of painting, music, and dance was presented as equally important. The artists maintained their autonomy and individuality, and no one art form was at a service of another. Satin maintains that this exemplary collaboration inspired her and influenced her art. She acknowledged the intellectual debt to the famous trio by including the initials of John Cage, Merce Cunningham and Jasper Johns (JCMCJJ) in the title of many bookworks from her 'Dancers on a Plane' series. In doing so, she felt as if she, too were part of the team." $3,200 |
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| Claire Jeanine Satin: "Over 100 bookworks have been created in the Pentimento Series alone, these refer to the concept of reappearances, hence the use of transparency and thereby visual multiplicity. These ideas emanate from my long term association with the theories of John Cage who I first met in the late 1970's. I am always seeking possibilities for reassembling ideas of phenomenal, historical or metaphorical experiences into new aesthetic forms." | |
| Pentimento LXXX: A Fleurs Verdure By Claire Jeanine Satin Dania Beach, Florida: Claire Jeanine Satin, 2003. One-of-a-Kind. 8.5 x 5.5"; 10 leaves. Printing on acetate with metallic overprinting. Other materials: ink/text, eyelashes, glass beads, monofilament. Bound at spine with monofilament and beads. Zach Pearl, Book Arts Newsletter No. 27, May 2010, Satin-Speak: Sculpting New Language: "Her intrinsically eccentric array of letterforms, pictograms, and illustrations from cultures and languages around the world brandishes a surprisingly harmonic carnival of visual elements. The image of the Hamsa, for example: a five fingered hand with an eye in the center of the palm (also referred to as the Hand of Fatima in Islam, or as the Hand of Miriam in Jewish Communities) is pervasive throughout the Pentimento series and is seen in many variations and combinations with other symbols. "Given its cross cultural history in tandem with the fact that Satin usually represents it prominently, printed in saturated magenta or cyan (or equally as often in the rich and chiasmic black of fresh photocopier toner), the repetition of the Hamsa in Pentimento gives obvious visual unity between pieces and implies that there is a central historical reference to the pieces; that there is a central force from which all of Satin's linguistic and aesthetic permutations have been spun. The repetition of widely known symbols of the Hamsa also alludes to the possible agenda of Satin to create new histories, and that her manipulation of language is, in fact, a kind of 'anthropological play' in which she is inventing new contexts for legendary characters." $2,500 |
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| Pentimento XL (Flat) By Claire Jeanine Satin Dania Beach, Florida: Claire Jeanine Satin, 2002/2003. One-of-a-Kind. 8.5 x 8.25"; 5 leaves. Printing on acetate with metallic overprinting. Other materials: 'lift-off' tape, glass beads, monofilament. Bound at spine with monofilament and beads. In the center of the pages is a 4" square in which Satin has printed a meandering slash of color in silver and black. On closer inspection one can see the letter M zigzagging across the square. Satin often uses an M in her work as a tribute to John Cage. When talking about Cage she recalls that he discovered M as the thirteenth letter in the alphabet and used that as a perpetuation of his theory of chance. In honor of him, she then incorporates the letter M or a multiple of 13 in her work. Satin's father was a teacher of typing and stenography. Throughout her work there will also be signs of his influence. At the top edges of the cover of this book there is a row of practice letters from her own typing. $1,800 |
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Pentimento XIV: Mehndi Corail 8.5 x 5.5"; 10 pages. Printing on acetate. Other materials: polyester screen, ink/text, glass beads, monofilament. Bound at the spine with monofilament and beads. Claire Jeanine Satin: "Pentimento refers to the concept of reappearances, hence the use of transparency and therefore visual multiplicity and indeterminacy. Further, these ideas emanate from my long term association with the persuasive theories of John Cage. The hand imagery: HAMSA from the Semitic root meaning five: an amulet worn to ward off the evil eye; the protective hand of God; divine might; also the hand of Fatima; the henna handprints (mehndi). The hand image has appeared everywhere in science, literature, legend, and art throughout the centuries." |
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Page last update: 09.10.11
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