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

Revolutionary Tea
By Pamela S. Wood
Tempe, Arizona: Artboard Ink, Ltd / Rarehare Creations, 2005. Edition of 6.

3 x 3.25" closed; opens 9.25" vertically. Handmade shredded US currency paper and copies of the Declaration of Independence. "Tea" bag constructed from fabric sizing material and sewn with silver thread.

Art as protest.

Pam Wood: "On the eve of W's re-election I was so mad. By the inauguration I came up with this book. The first two of these went to the Cranes Paper Museum. They sponsored a show of how money could be used in art, since Cranes makes the US currency paper. This is my most political statement in a long time. One of my favorites."
$250

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

The Magician's Assistant
By Pamela S. Wood
Tempe, Arizona: Artboard Ink, Ltd / Rarehare Creations, 2003. Edition of 12.

3.5 x 4.5"closed, opens to 6 .5". Shaped like a magician's black hat. Original drawing, velour paper, silk ribbon. Boards and drawing handcut.

Art as magic.

Pam Wood: "Continuing with my love for rabbits, I wanted to create in a book the essence of a rabbit in a hat." Joe D'Ambrosio, review: "It is safe to say that this work … is the ultimate expression of a true artist's book. There is no text — it is purely a visual experience. And yet, while looking at this work, the visual 'speaks' volumes....

"The piece itself is a two-dimensional hat, obviously a magician's stovepipe, or opera, hat, exquisitely shaped in black felt with a black satin band. There are no directions on the further course of action by the viewer, but it is fairly obvious that the part of the hat originally intended for one's noggin can be opened, and the other end of the hat is a practical hinge in order to perform that operation. At first try it is somewhat difficult to pry the hat open because the velcro mechanism which keeps it closed is so deftly constructed. But, with a little extra effort it can be done.

"The fact that it requires effort to open the hat is an intimidating factor because one does not want to damage the beautifully made object by being too clumsy and overbearing; the mind and mood of the viewer has now been preset (intimidation / submission) for what is to come...."
$250

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 Ancient Mask Kit
By Pamela S. Wood
Tempe, Arizona: Artboard Ink, Ltd / Rarehare Creations, 2000. One-of-a-Kind.

8 x 3.75"; 18 mask-shaped pages housed in 6.5 x 8.5 x 1.5" handmade clamshell box with a copper mask on the lid. Ribbon tie attached to bottom of interior lid to hold pages in place. Copper mask decorates box lid interior.

Art as suggestion. Eighteen masks of handmade paper provide the springboard for each viewer's imagination.

Pam Wood: "I did a solo show about masks in 2000. This was one of the 3D pieces. I created it to be its own artifact. The viewer can make up where it came from. Viewers … smile as they mentally play with the 'mask' concept. Words were not necessary. All my handmade paper masks made the piece look even older. I used my kitchen stove to create the copper masks patinas."
$500

It's Time
By Pamela S. Wood
Tempe, Arizona: Artboard Ink, Ltd / Rarehare Creations, 1999. Edition of 2.

3.5 x 4.25; 12 pages. Accordion structure of commercial handmade paper. Other materials: clock face and hands, mirrors.

Arts as personal therapy.

Pam Wood: "This piece was done for the pending Millennium at midnight 1999. I was inundated with all kinds of 'end of the world' garbage. I responded to calm myself down with what I feel is the truth about time. It's manmade. We choose to see what we want in the mirror. In this case it's the viewer."
$150

The Year of the Rabbit:
1951 & 1999
By Pamela S. Wood
Tempe, Arizona: Artboard Ink, Ltd / Rarehare Creations, 1999. Edition of 2.

3 x 4", opens to 12"; 5 pages. Suede-covered rabbit-shaped boards. Illustrated with official postage stamps for the Year of the Rabbit.

Art as play.

Pam Wood: "This is a wonderful story about how the Zodiac signs were selected by Buddha. I love rabbits and am born under the rabbit sign. It is a wonderful mix - story and personal. I was playing with how to make an accordion more exciting and wanted the soft of a rabbit without rabbit fur. Just a fun book."
$250

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)