29 Jun 2020
Emily Lazerwitz: Reading her new redacted book, 'A Year of Space'
A focus on Emily Lazerwitz’s work, particularly her redacted books and rug and print work, as she launches a reading of her new book ‘A Year of Space’.
Contemporary art object making is key to Emily Lazerwitz’s practice. She reveals a new redacted book that she has made in her studio in this period of isolation. Alongside this is her exclusive reading of the book. This is a form of performance for Lazerwitz with these works.
The art object ‘A Year of Space‘ is part of a collection of books purchased by the artist to make contemporary artworks from. She bought them online from a bookseller as the country was going into lockdown. This creates a randomness in the selection of books she bought. Her only remit was that the books be from the 1940s – 1960s. This stands in contrast to her usual process of choosing a book for redaction. Usually she carefully selects each one over time in old bookshops. This element of chance in the new process is one that Emily embraces. She sees it as reflecting how things seem completely up to chance right now.
Emily has done an exclusive reading from the first chapter of the redacted book for us. This gives an aural sense of the work.
A Year of Space
Redacted book – found book, Sharpie, 2020
12 x 19 x 2 cm
‘A Year of Space’
In this reading, she reads aloud the words left behind after removing all the words that are not semantic primes from the pages of book. She crosses each one out with a Sharpie. These works are both sculptures and performances. The readings are therefore an integral part of the piece, allowing the patterns of language to emerge.
Emily also reduces the images within the book to their basic form. This replicates the process of redacting the text. Similarly, she sees the relationship between the silhouette as being analogous to the semantic prime and words. Through this action, she reduces the element to the core in both text and image.
London-based US artist and mathematician Emily Lazerwitz explores the intersection of art, craft, technology and language in her work. She creates intriguing pieces where language is broken down and transcribed. The legibility is present, yet seemingly abstract. In her work, Lazerwitz is concerned with the way technology shapes the direction that language develops. Her redacted books are an integral part of her practice, and her engaging with these themes.
This work is part of a series of redacted books that the artist has been making in the studio over the last few months. Watch her discussing them in her ‘INSIDE THE STUDIO’ video.
‘The Romance of Canterbury Cathedral’
Another work from the series, ‘The Romance of Canterbury Cathedral” was the first book from the collection of over 20 random books that Emily Lazerwitz received that she chose to read. Originally written in 1932, this edition from 1945 includes a great introduction about the beginnings of World War II and the uncertainty that led to. Above all, for Emily, this seems apt for the time and she has been drawn to the sense of spirituality and anticipation. The book also references aspects of the artist’s own history. She went to a Cathedral School and finds comfort in the history of Churches and cathedrals.
The act of redacting ‘The Romance of Canterbury Cathedral” took Emily Lazerwitz two weeks. During the process she made a film. This presents careful documentation of each page, both before and after the redaction. Tin other words, the film is a unique record of her act of redacting the whole book and the sense of time of the process. For her, the act of redacting it is like a ritual. Equally, for Emily, reading something familiar in another time of turmoil, and importantly reading about something that survived that turmoil, feels right.
‘Prime Guides‘, 2014, is an earlier work from Emily Lazerwitz’s redacted book series. In this piece, a dictionary and a Bible, the two fundamental books of the English language, are both redacted on the right hand page. Emily removes all words that are not semantic primes from the page. The bleed from the sharpie comes through on the left hand page.
Found books, sharpie, 2014
12 x 30 x 6 cm
Patterns and code are themes that are Emily continuously explores in her work. In the redacted text in ‘Prime Guides‘, patterns emerge in the words that are left on the page. These patterns become more present when the remaining text is read aloud by the artist, in her performances with the sculptures. The act of redacting also references censorship. In other contemporary art object that Lazerwitz makes, she uses censored CIA documents as her source, transcribing them into other forms, such as rugs and scarves.
Redaction reappears in other media that Emily uses, such as in ‘DOC_00000200100.pdf‘, 2018, a hand speed-tufted wool rug that depicts the statistics of the Global Terrorism Database. The piece is from an ongoing series -referred to as the Archive – which the artist started in 2017.
Therefore each “document” displays data representing terrorist attacks in the United States. This is sourced by the Global Terrorism Database from a certain period of time. This data is reconfigured and formatted to mimic the style of redacted government intelligence documents. Each attack is represented through a series of letters followed by black bars. The letters (shown in two groups separated by a space) represent the category of attacker followed by the category of target while the black bars represent number of fatalities followed by injuries. At the bottom right corner, the time period shown by the rug is listed. The data starts from the most recent attacks from database, which at the start of the project was 2015 and works backwards from that year.
Hand hooked wool rug, 2016
100 x 100 cm
Another rug work is shown above. The textile piece ‘USD-GBP-EUR-JPY-AUD-CAD-CHF-HKD-KRW’, 2016, shows a specific key historical moment. Lazerwitz uses as her source the currency exchange on the day of the EU referendum results. Tracking the different currencies at this pivotal moment, the work is a snap-shot of an important historical moment. Lazerwitz transcribes the figures onto the rug to make a monochrome. Similarly, the use of the rug also implies a sense of craft and hand-made. The use of this medium connecting the work to a long heritage of contemporary textiles, most specifically the work of Anni Albers, and more contemporary artists such as Sheila Hicks or Brent Wadden. As such, Lazerwitz gives us a multi-layered and complex work, part historical document, part art-historical. It is a striking piece that marks a defining moment of history.
Nibbles for Tea
Inkjet print on matte paper mounted on aluminium, 2014
160 x 112 cm
‘Nibbles for Tea’
Shown above is ‘Nibbles for Tea‘, 2014, an earlier print by the artist where she depicts a binary translation of the 7th chapter of Lewis Carrol’s ‘Alice in Wonderland – A Mad Hatter’s Tea‘. The depiction of the code then transforms the narrative into a seemingly abstract work – creating a play between language, code and interpretation.