A Slender Horizon of Light

Simon Cutts

2019

16pp, 150 x 105 digital colour in the on-going ephemera series. Illustrated essay by Simon Cutts, after the demise of Bill Culbert in March 2019

€6.00 CB E

A Concertina of Concertinas

2019

10-panel concertina 140 x 95mm, colour printed digitally and in acetate sleeve.Listing and description of most of the Coracle concertinas over the years.The concertina-form is always with us quietly, openly presenting its facets to the world. Packed away in a box or awkwardly stacked, or standing almost closed on the bookshelf, it may genuinely be the closest to sculpture the printed artefact ever comes. It may be endless in the way the column might have been for Brancusi, an archetype that can be applied to the gathering of parts, pehaps more versatile and certainly more casual than the codex, and as with sculpture, it often defies perspective when stood on a shelf. For Coracle, the concertina has also become the perfect format for the shorter illustrated essay, like this one as bibliography. Mostly, these later productions are printed digitally on Lambeth Cartridge cut to SRA3 size to fit the printer, and their multiple folds grooved and scored by laser from the folding machine - a new possibility from the folding to the middle, and to the middle again, by hand, of the earlier ones. Coracle offers this one by way of thanks to the collection of Stephen Perkins and his accordianpublications blogspot.

€10.00 CB/C/E

Too Raucous For A Chorus

Erica Van Horn

2018

64pp 180 x 125mm printed 4-colour offset. Casebound and blocked in two colours. With dropped capital drawings by Laurie Clark, an assembly of shorter texts by Erica Van Horn, of the plight of birds encountered in local circumstances.

€25.00 W

The Seams of Claude Monet

Simon Cutts

2018

28pp 185 x 115mm printed digitally and casebound with embossed image. An essay on the specificity of its subject. In order that Les Nymphéas might be accommodated in the Musée de l’Orangerie in 1927, the paintings had to be prepared in sections. For his purpose of instantaneous tonal perception, Monet painted false seams onto the canvas, thus rendering the breaks in the structure of the room, the real seams, indistinguishable. What was made as an astute gesture on the part of Monet, becomes upon further reflection an irony on the whole theoretical aims of the Impressionist movement. A spectator becomes accustomed to seams.

€15.00 CB