|Title||Extravagant or Credo|
|Artist / Creator||Emily Dyer|
|Artist's Nationality||United States|
|Place of Publication||Salt Lake City, UT|
|Process / Technique||Letterpress printed; hand-set type; photo-polymer images|
|Structure / Binding||Accordion with pamphlet stitch|
|Paper Stock||Gampi, Frankfurt Cream, Rives papers|
|Number of Pages||32 pages|
|Dimensions (WxHxD)||4 x 5 x 1 inches. Extends out to 48 inches|
|Edition Size||Variable Edition of 20|
|Signed & Numbered||Yes|
I read Dante's Divine Comedy years ago in college. It seemed Dante was using the creative process as a means for worship. I was haunted by how images were redeemed and altered throughout the three books: the souls as leaves in hell; the souls as petals in heaven. Since then, there have been so many books that added to this idea of creation as meditation as worship. In Walden, Thoreau discusses extravagance the idea of going beyond borders purposefully, radically. I saw this on the first page of T.J. Cobden-Sanderson's Genesis In the beginning with a red "I" that encompassed the page and the text. I saw it too in his Credo with the extravagance of the blank pages before beginning his treatise of belief. I began Extravagant or Credo in answer to these books. The book is my explanation of the extravagance of faith of worship. It layers sacred text and experience with scientific images (wing images made from collected specimens: butterfly, moth, dragonfly, grasshopper, bee).
Artist BioEmily Dyer grew up in San Diego and received an MFA in fiction at the University of Utah. She began making books in 2009, and her work is included in the special collections libraries at Baylor University, UCLA, USC, and the University of Florida. She finds inspiration in the natural world, science, and stories (of all kinds). She sees the artist book as a site of communion where the environment made by words and myths can be touched-turned, unfolded, closed, opened-where every part is part of the text body.