Treated gate-folds with coloured endpapers printed digitally 80 x 180mm casebound. 120 numbered copies. 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