By Simon Cutts Clonmel, Tipperary, Ireland: Coracle Books, 2016. Edition of 120.

7.25 x 3"; 3 gate-folds. Printed digitally. Casebound with purple and yellow end papers. Numbered.

Coracle: "In order that the Water Lilies might be accommodated in the Musée de l’Orangerie in 1927, the paintings had to be worked in sections. For the purposes of instantaneous tonal perception, Monet painted false seams onto the canvas, thus rendering the exact seams indistinguishable. What was made as an astute gesture on the part of Monet, becomes upon further reflection an irony of the whole theoretical aims of the Impressionist movement: a spectator is made used to seams. Camouflages. Gemma Three, London 1968-1972."

Simon Cutts: “The inter-relation of the pages and pastings is only atmospheric, and is a model of walking through rooms where a diagramatic camouflage and deception is happening.I suppose it is a book as some sort of architecture, and there is no explanation to it, only a being lost in rooms and flaps.”