La Prose du Transsibérien Re-creation
Size of binding
368 x 254 x 13 mm (14.5 x 10 x 0.5 in)
Evolon (a non-woven micro-filament textile), Mylar, fabric, goat leather, acrylics, Japanese paper, photography, and a found object. For optional hanging of the whole print, the pages are kept inside the book-structure with magnets.
From the Collection of Toby Schwartzburg
Description of binding
The design begins already with the dark grey-silver box. This leads to the unexpected colorful “chemise-shawl” inside. The repeated use of silver-grey stands for winter, Siberia and loneliness. The book cover itself is in a dark color, with geometric design elements and plenty of undecorated space-calming expectations. The printed book with all its vivid colors and flowing movements is in stark contrast to the sparse use of colors and the geometrical design layout. So is the juxtaposition between the “dark” poem and the colorful joyfulness of the artwork.
A train is disappearing in the distance on the poet’s “golden tracks of his future.” Each window shows a glimpse into the author’s associations with his thoughts, doubts and feelings.
Sabina U. Nies began her bookbinding career taking classes at the San Francisco Center for the Book in 1995. Her most influential teachers were: Dominic Riley and Tini Miura. Sabina graduated from the American Academy of Bookbinding (AAB) in Telluride, CO, in 2005 with the AAB Diploma of Professional Bookbinding. She incorporates her skills as a bookbinder, artist, and printer to create fine design leather bindings, albums, boxes, and artists’ books. Her work can be found in private and public collections nationally and internationally.
Not for sale