NPO法人J−LAF（ジェイラフ）カリグラフィーを軸とした日本における文字芸術のイベントを開催します。

The Neri Collaboration

In 2004 a representative of the Manuel Neri^＊1 Foundation called to ask me if I would be interested in contributing to the making of a one-of-a-kind book that would include Manuel's original drawings combined with a poem by Pablo Neruda^＊2. The one book ultimately led to a project that lasted five years and resulted in the creation of 16 books, a series of seven books with the poetry of Pablo Neruda, and nine books with Federico García Lorca^＊3 poems. In April of 2012, Stanford University hosted an exhibition of seven of the books along with some of the preparatory sketches.

Aside from being given the drawings and the selection of poetry, the other organizational and design decisions for creating the book were left to me. These initial tasks included the paper, determining the size and format of the book, and the page layouts. I also worked at this early stage with the binder to understand the structure of the binding and the number of sheets that we could assume for each section.

The challenging and creative part involved writing the poem in calligraphy on the pages facing Manuel's drawings. His drawings were clearly the most important visual element of the two page spreads. The calligraphy needed to visually act in a supporting role. At the same time the text, usually a short line from the poetry, was required to have both a visual and signified relationship to the images.

I tried to "read" Manuel's drawings by translating the colors and the character of his lines into verbally expressive terms, and then I would attempt to match these to the sense or atmosphere of the poetry. Occasionally somewhat understandable links between the two were possible, but in most instances, and particularly with the Lorca poetry, everything remained shrouded in mystery. In the beginning I struggled with this, but in time I began to see it as an advantage. I felt freer to focus on working visually, taking my clues from the drawings, their character, color, line, and particularly the shape of the figures and the spaces they occupied. I began to see the calligraphy as ultimately serving some functions. As a visual element, its function was to heighten the prominence of the drawing. And while obvious associations between word and image were not always apparent, the calligraphy in a curious way became the connector between the two.

Making associations or finding meaning between the two falls to the viewer. What may seem to be a mysterious connection to one person may be obvious to another. My goal was to somehow achieve a marriage between the words and image that allowed the two, poetry and figure, to speak, if you will, with one voice.

The Neri project renewed my interest in making books.

^＊1 Manuel Neri (1930 - ) American sculptor
^＊2 Pablo Neruda (1904 - 1973) Chilean poet
^＊3 Federico García Lorca (1898 - 1936) divish poet

IMAGES OF OTHER BOOKS

Working with Poet

A recent project involved a collaboration with eleven poets. David Annwn(refer to Part 1) was an important part of this project's evolution. In 2011 we taught a class together at Sunderland University in the UK. Our work involved making responses to music. David wrote poems and I turned expressive marks into letterforms. It was an inspiring experience that led us to embark on a new collaboration. After a few months of working together, we concluded that the participation of other poets might be a good way to push forward. David gave me the names of six from England, one from the Philippines, one from Singapore. I invited the three poets from the US.

I began the project by creating a series of abstract calligraphic sheets. I refer to them as "music sheets" as they were made in response to music. I aimed for a diverse range of images by working with different tools, different mark making sequences and a variety of musical selections.

I sent a package of materials to each poet that included a number of the music sheets, samples of my work, and a letter asking if they would be willing to contribute a poem to the project. I requested that they choose one of the music images and align it with a poem that they had already written or if they could, to write a new poem.

All of the poets responded and five have written new poems, while the others chose from previous works. I used the poem/image combinations as a source of inspiration for the design of new expressive letterforms and page compositions. This process led to the eventual creation of one-of-a-kind books for each of the poems. These books and the sketch materials that I produced are now my foundation for the making of one final book that will be an expressive interpretation of all the poems.

After so many years of making visual translations of poetry, working closely with the poets themselves, has added new dimensions and an enthusiasm that I had not previously experienced

Having taught calligraphy for more than 35 years, I now teach as little as possible. Instead, I work peacefully in my San Francisco studio, enjoying creation of books in collaboration with poets from different part of the world.

Private and with Calligraphers

CALLIGRAPHY AS AN EXPERIMENT:
Discovering Answers in the Creation of Modern Manuscript Books 〈part 1 of 2 〉

From my earliest days of learning calligraphy I was interested in exploring and finding new ways to think about calligraphy. I loved learning the craft of calligraphy and the practice of traditional alphabets, but yearned to create something new, something of my own. The idea of everything being an experiment guided my work for years.

This feeling obviously was fueled by my prior design and art training in Landscape architecture, but I think was also the result of my living in San Francisco. My home, in close proximity to a large Asian community, presented me with easy opportunities to explore oriental art shops filled with inks, brushes and books on eastern calligraphy. I became quite fascinated with Japanese Zen calligraphy and ultimately in the writing of other non-Western cultures, particularly Arabic. Also Bay Area artists, who I met here, helped to channel my calligraphic explorations. I looked at the “calligraphic paintings” of modern abstract expressionists, such as Franz Kline and Mark Tobey.

All of these influences ultimately led me to exploring calligraphy as visually expressive medium. Rather than a concern for historic form and readability, I wanted to see if I could use lettering to visually capture the feeling, mood, or atmosphere of the text. As a means to experiment with these ideas, I have created a number of unique (one-of-a-kind) books.

The first two books described below were created in the early 1980s and are very traditional in character.

The Bestiary

The Bestiary contains selected text and drawings interpreted from T. H. White’s book, The Book of Beasts, an English translation of a medieval bestiary originally written in Latin. I created this book in 1981 after a brief study of manuscripts at the British Library and the Bodleian Library at Oxford University. The Versal capital letters in the book were copied from a 12th Century manuscript from the Bodleian and the cursive book hand was an interpretation of a humanist writing from the hand of the Medieval master, Felice Feliciano.

*The Bestiary

Alchimie du Verbe

The text is by Authur Rimbaud, includes formal poetry and prose poetry from the book titled A Season in Hell. The text is written in both the original French as well as the translation in English. The French is in a formal book hand and the English translations, still in various traditional hands, have been used for the creation of expressive compositions. My intent with the informal compositions was to capture the mood and/or atmosphere of the various poems. The formal writing in French, in columns, was intended as an anchor for the expressive elements.

This was a commission from Richard Harrison of the Harrison Calligraphy Collection at the San Francisco Public Library Special Collections Department.

*Rimbaud

Tabula Gratulatoria

The poem is by David Annwn, an Anglo-Welsh poet who lives in Sheffield, England.

How I got to know David is an unusual and magical story. In 2002 when he and his wife were on their way to Germany to see the Documenta Art Faire, they stopped in Bruge and happened to see a calligraphy exhibit at Manna Art Gallery.

What follows are David’s words:

One artists’ work transfixed us: we found ourselves asking who had created these waterfalls and soaring windrows of letters, shapes so tactile and dynamic flexing over pictorial space? We were told that these were images created by the American artist, Thomas Ingmire. After our return home, pace all we’d seen at Documenta, those calligraphic images wouldn’t let me be. In response I wrote the poem ‘Tabula Gratuloria’ which help break through a lexical impasse for me:

David's publisher of IS press sent the poem along with a letter and two of David's published books. The letter said that these were being sent in gratitude for the inspiration given to the poet by the exhibition at Manna Gallery. It is actually difficult for me to describe what I felt at that moment. That a person from half way around the world would take the time to send a note of gratitude because he had seen my work, by itself seemed to be an extraordinary gesture. But then to have been inspired by the work to write a poem.... a very thoughtful lyrical poem that captured in words more than I ever begin to imagine when I work, seemed absolutely amazing to me. This was an affirmation of my work that still today stands above all others. It gives the answer to that perennial question of why do I do this work.

*Tabula Gratulatoria

●Profile●
Thomas Ingmire

©2012 Linda A. Cicero

Thomas Ingmire received a Bachelor of Landscape Architecture at The Ohio State University and a MLA at the University of California, Berkeley. Both of these programs involved intensive graphic and fine arts studies.

He did work as a professional in the Landscape architecture field and quite by accident discovered calligraphy and bookbinding. After a few years he became more serious about calligraphy and joined Donald Jackson's one-year postgraduate program. Eventually he retired his life as a Landscape Architect to begin the full-time pursuit of calligraphy and art.
In 1977 he became the first foreign member to be elected Fellow of the Society of Scribes and Illuminators in London, England.

His early work as a calligrapher focused on traditional letterforms and craftsmanship. In time he explored more expressive work by using calligraphic lines to capture the emotions of poetry.

In recent years, he worked as an illuminator on the St. John's Bible. He also worked with Manuel Neri, a sculptor on the development of 16 one-of-a-kind artists' books. Both works were exhibited at museums and Universities. He has recently embarked on a number of new collaborative projects with poets and musicians involving the creation of original books.

He has taught workshops and conferences for more than 35 years throughout the United States, Canada, and several countries in Europe, Australia, New Zealand, as well as in Japan and Hong Kong. His teaching includes both traditional lettering and craft techniques as well as modern expressive graphic interpretive work. Characteristic of his teaching is the cultivation of personal creativity.
He was born in 1942, and currently lives and works in San Francisco, California.