......................................................................................................................................................................................................................
   Come If You Won't Stay Long     Artist’s book printed in Madison, WI in 2016 in an edition of 40. There are 45 pages, 9 1/2” x 11 1/2”. Polymer paper is gum-coated then printed in double-page spreads with water soluble inkjet pigments. The flexible rubber cover is printed by polyester plate lithography. A back pocket holds a rain jacket made from waterproof TPU fabric. The pages of this book record the marks of the rainfall and the book may be annotated in the margins. The book has a sandblasted aluminum slipcase.  To use the book, open the pages and place it face-up in the rain. Raindrops imprint the double page spreads by releasing the water soluble ink. Each page is uniquely marked according to the quality of the rain: hard, soft, fast, slow, the size of the drops and the length of time the book is placed outside. In this way the book is an open stage for participation between the rain and the recordist. The recording continues over time in different geographic locations. Using a ball-point pen the book may be annotated by writing notes in the margins. The pages are prepared for the eventuality of rain, but dry days in arid climates may also be recorded. Immeasurable sorrow, measurable resources, immeasurable resources, measurable tears. . .this book is interested in how rainfall, as it makes global impact, also makes us feel so much.

Come If You Won't Stay Long 

Artist’s book printed in Madison, WI in 2016 in an edition of 40. There are 45 pages, 9 1/2” x 11 1/2”. Polymer paper is gum-coated then printed in double-page spreads with water soluble inkjet pigments. The flexible rubber cover is printed by polyester plate lithography. A back pocket holds a rain jacket made from waterproof TPU fabric. The pages of this book record the marks of the rainfall and the book may be annotated in the margins. The book has a sandblasted aluminum slipcase.

To use the book, open the pages and place it face-up in the rain. Raindrops imprint the double page spreads by releasing the water soluble ink. Each page is uniquely marked according to the quality of the rain: hard, soft, fast, slow, the size of the drops and the length of time the book is placed outside. In this way the book is an open stage for participation between the rain and the recordist. The recording continues over time in different geographic locations. Using a ball-point pen the book may be annotated by writing notes in the margins. The pages are prepared for the eventuality of rain, but dry days in arid climates may also be recorded. Immeasurable sorrow, measurable resources, immeasurable resources, measurable tears. . .this book is interested in how rainfall, as it makes global impact, also makes us feel so much.

   Come If You Won't Stay Long   

Come If You Won't Stay Long 

   Come If You Won't Stay Long   

Come If You Won't Stay Long 

   Come If You Won't Stay Long     Artist’s book printed in Madison, WI in 2016 in an edition of 40. There are 45 pages, 9 1/2” x 11 1/2”. Polymer paper is gum-coated then printed in double-page spreads with water soluble inkjet pigments. The flexible rubber cover is printed by polyester plate lithography. A back pocket holds a rain jacket made from waterproof TPU fabric. The pages of this book record the marks of the rainfall and the book may be annotated in the margins. The book has a sandblasted aluminum slipcase.  To use the book, open the pages and place it face-up in the rain. Raindrops imprint the double page spreads by releasing the water soluble ink. Each page is uniquely marked according to the quality of the rain: hard, soft, fast, slow, the size of the drops and the length of time the book is placed outside. In this way the book is an open stage for participation between the rain and the recordist. The recording continues over time in different geographic locations. Using a ball-point pen the book may be annotated by writing notes in the margins. The pages are prepared for the eventuality of rain, but dry days in arid climates may also be recorded. Immeasurable sorrow, measurable resources, immeasurable resources, measurable tears. . .this book is interested in how rainfall, as it makes global impact, also makes us feel so much.

Come If You Won't Stay Long 

Artist’s book printed in Madison, WI in 2016 in an edition of 40. There are 45 pages, 9 1/2” x 11 1/2”. Polymer paper is gum-coated then printed in double-page spreads with water soluble inkjet pigments. The flexible rubber cover is printed by polyester plate lithography. A back pocket holds a rain jacket made from waterproof TPU fabric. The pages of this book record the marks of the rainfall and the book may be annotated in the margins. The book has a sandblasted aluminum slipcase.

To use the book, open the pages and place it face-up in the rain. Raindrops imprint the double page spreads by releasing the water soluble ink. Each page is uniquely marked according to the quality of the rain: hard, soft, fast, slow, the size of the drops and the length of time the book is placed outside. In this way the book is an open stage for participation between the rain and the recordist. The recording continues over time in different geographic locations. Using a ball-point pen the book may be annotated by writing notes in the margins. The pages are prepared for the eventuality of rain, but dry days in arid climates may also be recorded. Immeasurable sorrow, measurable resources, immeasurable resources, measurable tears. . .this book is interested in how rainfall, as it makes global impact, also makes us feel so much.

Helen_Hawley_rain_book_page_OlbrichIMG_0198.jpg
Helen_Hawley_rain_book_page_backyardIMG_0196.jpg
Helen_Hawley_Rain_Book_IMG_0037.jpg
Helen_Hawley_Rain_Book_IMG_0024.jpg
Helen_Hawley_rain_book_blank_pageIMG_0183.jpg
Helen_Hawley_Rain_Book_IMG_0136.jpg
Helen_Hawley_rain_book_centerfoldIMG_0184.jpg
Helen_Hawley_rain_book_colophonIMG_0186.jpg
Helen_Hawley_rain_book_jacket_2IMG_0189_1.jpg
Helen_Hawley_Rain_Book_IMG_0053.jpg
Helen_Hawley_Performancy_Forum.jpg
  Volume & the Void,  live performance, Brooklyn, NY, Oct. 2015 

Volume & the Void, live performance, Brooklyn, NY, Oct. 2015 

  Volume & the Void,  live performance, Brooklyn, NY, Oct. 2015

Volume & the Void, live performance, Brooklyn, NY, Oct. 2015

  Volume & the Void,  live performance, Brooklyn, NY, Oct. 2015

Volume & the Void, live performance, Brooklyn, NY, Oct. 2015

Helen_Hawley_Volume&Void_Projgram.jpg
Helen_Hawley_Vocabulary_of_Signs_cover051914.jpg
Helen_Hawley_Vocabulary_of_Signs_title051914.jpg
Helen_Hawley_Vocabulary_of_Signs_curbed051914.jpg
Helen_Hawley_Vocabulary_of_Signs_observed051914.jpg
Helen_Hawley_Vocabulary_of_Signs_Reserved051914.jpg
Helen_Hawley_Vocabulary_Signs_colophon051914.jpg
  Idle Words , Xerox on film, light fixtures, kozo, gold letters, 2014, 16' x 2'

Idle Words, Xerox on film, light fixtures, kozo, gold letters, 2014, 16' x 2'

  Idle Words  [detail]

Idle Words [detail]

  Idle Words  [detail]

Idle Words [detail]

  A Hold on Me , annotated photograph, 2014, 7 ½" x 9”  My love letter to the dictionary titled after “You Really Got a Hold on Me” by Smokey Robinson and the Miracles.

A Hold on Me, annotated photograph, 2014, 7 ½" x 9”

My love letter to the dictionary titled after “You Really Got a Hold on Me” by Smokey Robinson and the Miracles.

  An Exclamation Is, annotated photograph, 2014, 7 ½" x 9”

An Exclamation Is, annotated photograph, 2014, 7 ½" x 9”

  An Exclamation Is  [detail]

An Exclamation Is [detail]

  pH , lithograph, 2014, 24" x 33"

pH, lithograph, 2014, 24" x 33"

  Plasma , lithograph, 2014, 11" x 14"

Plasma, lithograph, 2014, 11" x 14"

  Plasma , lithograph, 2014, 11" x 14", text by Dennis Overbye, "What You Can’t See Is Even Cooler ‘Dark Universe,’ at the Hayden Planetarium." New York Times, Oct. 31, 2013

Plasma, lithograph, 2014, 11" x 14", text by Dennis Overbye, "What You Can’t See Is Even Cooler ‘Dark Universe,’ at the Hayden Planetarium." New York Times, Oct. 31, 2013

  Ranked and Filed , etching, 2012, 8 1/2' x 8'

Ranked and Filed, etching, 2012, 8 1/2' x 8'

  Ranked and Filed  [detail]   

Ranked and Filed [detail]

 

  Recording , lithograph, 2012, ed. 5, 25" x 34"

Recording, lithograph, 2012, ed. 5, 25" x 34"

  Gatefold , lithograph, ed. 5, 2012, 25” x 34"

Gatefold, lithograph, ed. 5, 2012, 25” x 34"

  Regulation , lithograph, ed. 5, 2013, 25” x 34"

Regulation, lithograph, ed. 5, 2013, 25” x 34"

  Leaves , etching, 2013, ed. 5, 25" x 34”

Leaves, etching, 2013, ed. 5, 25" x 34”

  Field Volume , lithograph, ed. 5,  2012, 100” x 35"  [page 1/2]

Field Volume, lithograph, ed. 5,  2012, 100” x 35"  [page 1/2]

  Field Volume , lithograph, ed. 5,  2012, 100” x 35"  [page 2/2]

Field Volume, lithograph, ed. 5,  2012, 100” x 35"  [page 2/2]

Come If You Won't Stay Long 

Artist’s book printed in Madison, WI in 2016 in an edition of 40. There are 45 pages, 9 1/2” x 11 1/2”. Polymer paper is gum-coated then printed in double-page spreads with water soluble inkjet pigments. The flexible rubber cover is printed by polyester plate lithography. A back pocket holds a rain jacket made from waterproof TPU fabric. The pages of this book record the marks of the rainfall and the book may be annotated in the margins. The book has a sandblasted aluminum slipcase.

To use the book, open the pages and place it face-up in the rain. Raindrops imprint the double page spreads by releasing the water soluble ink. Each page is uniquely marked according to the quality of the rain: hard, soft, fast, slow, the size of the drops and the length of time the book is placed outside. In this way the book is an open stage for participation between the rain and the recordist. The recording continues over time in different geographic locations. Using a ball-point pen the book may be annotated by writing notes in the margins. The pages are prepared for the eventuality of rain, but dry days in arid climates may also be recorded. Immeasurable sorrow, measurable resources, immeasurable resources, measurable tears. . .this book is interested in how rainfall, as it makes global impact, also makes us feel so much.

Come If You Won't Stay Long 

Come If You Won't Stay Long 

Come If You Won't Stay Long 

Artist’s book printed in Madison, WI in 2016 in an edition of 40. There are 45 pages, 9 1/2” x 11 1/2”. Polymer paper is gum-coated then printed in double-page spreads with water soluble inkjet pigments. The flexible rubber cover is printed by polyester plate lithography. A back pocket holds a rain jacket made from waterproof TPU fabric. The pages of this book record the marks of the rainfall and the book may be annotated in the margins. The book has a sandblasted aluminum slipcase.

To use the book, open the pages and place it face-up in the rain. Raindrops imprint the double page spreads by releasing the water soluble ink. Each page is uniquely marked according to the quality of the rain: hard, soft, fast, slow, the size of the drops and the length of time the book is placed outside. In this way the book is an open stage for participation between the rain and the recordist. The recording continues over time in different geographic locations. Using a ball-point pen the book may be annotated by writing notes in the margins. The pages are prepared for the eventuality of rain, but dry days in arid climates may also be recorded. Immeasurable sorrow, measurable resources, immeasurable resources, measurable tears. . .this book is interested in how rainfall, as it makes global impact, also makes us feel so much.

Volume & the Void, live performance, Brooklyn, NY, Oct. 2015 

Volume & the Void, live performance, Brooklyn, NY, Oct. 2015

Volume & the Void, live performance, Brooklyn, NY, Oct. 2015

Idle Words, Xerox on film, light fixtures, kozo, gold letters, 2014, 16' x 2'

Idle Words [detail]

Idle Words [detail]

A Hold on Me, annotated photograph, 2014, 7 ½" x 9”

My love letter to the dictionary titled after “You Really Got a Hold on Me” by Smokey Robinson and the Miracles.

An Exclamation Is, annotated photograph, 2014, 7 ½" x 9”

An Exclamation Is [detail]

pH, lithograph, 2014, 24" x 33"

Plasma, lithograph, 2014, 11" x 14"

Plasma, lithograph, 2014, 11" x 14", text by Dennis Overbye, "What You Can’t See Is Even Cooler ‘Dark Universe,’ at the Hayden Planetarium." New York Times, Oct. 31, 2013

Ranked and Filed, etching, 2012, 8 1/2' x 8'

Ranked and Filed [detail]

 

Recording, lithograph, 2012, ed. 5, 25" x 34"

Gatefold, lithograph, ed. 5, 2012, 25” x 34"

Regulation, lithograph, ed. 5, 2013, 25” x 34"

Leaves, etching, 2013, ed. 5, 25" x 34”

Field Volume, lithograph, ed. 5,  2012, 100” x 35"  [page 1/2]

Field Volume, lithograph, ed. 5,  2012, 100” x 35"  [page 2/2]

   Come If You Won't Stay Long     Artist’s book printed in Madison, WI in 2016 in an edition of 40. There are 45 pages, 9 1/2” x 11 1/2”. Polymer paper is gum-coated then printed in double-page spreads with water soluble inkjet pigments. The flexible rubber cover is printed by polyester plate lithography. A back pocket holds a rain jacket made from waterproof TPU fabric. The pages of this book record the marks of the rainfall and the book may be annotated in the margins. The book has a sandblasted aluminum slipcase.  To use the book, open the pages and place it face-up in the rain. Raindrops imprint the double page spreads by releasing the water soluble ink. Each page is uniquely marked according to the quality of the rain: hard, soft, fast, slow, the size of the drops and the length of time the book is placed outside. In this way the book is an open stage for participation between the rain and the recordist. The recording continues over time in different geographic locations. Using a ball-point pen the book may be annotated by writing notes in the margins. The pages are prepared for the eventuality of rain, but dry days in arid climates may also be recorded. Immeasurable sorrow, measurable resources, immeasurable resources, measurable tears. . .this book is interested in how rainfall, as it makes global impact, also makes us feel so much.
   Come If You Won't Stay Long   
   Come If You Won't Stay Long   
   Come If You Won't Stay Long     Artist’s book printed in Madison, WI in 2016 in an edition of 40. There are 45 pages, 9 1/2” x 11 1/2”. Polymer paper is gum-coated then printed in double-page spreads with water soluble inkjet pigments. The flexible rubber cover is printed by polyester plate lithography. A back pocket holds a rain jacket made from waterproof TPU fabric. The pages of this book record the marks of the rainfall and the book may be annotated in the margins. The book has a sandblasted aluminum slipcase.  To use the book, open the pages and place it face-up in the rain. Raindrops imprint the double page spreads by releasing the water soluble ink. Each page is uniquely marked according to the quality of the rain: hard, soft, fast, slow, the size of the drops and the length of time the book is placed outside. In this way the book is an open stage for participation between the rain and the recordist. The recording continues over time in different geographic locations. Using a ball-point pen the book may be annotated by writing notes in the margins. The pages are prepared for the eventuality of rain, but dry days in arid climates may also be recorded. Immeasurable sorrow, measurable resources, immeasurable resources, measurable tears. . .this book is interested in how rainfall, as it makes global impact, also makes us feel so much.
Helen_Hawley_rain_book_page_OlbrichIMG_0198.jpg
Helen_Hawley_rain_book_page_backyardIMG_0196.jpg
Helen_Hawley_Rain_Book_IMG_0037.jpg
Helen_Hawley_Rain_Book_IMG_0024.jpg
Helen_Hawley_rain_book_blank_pageIMG_0183.jpg
Helen_Hawley_Rain_Book_IMG_0136.jpg
Helen_Hawley_rain_book_centerfoldIMG_0184.jpg
Helen_Hawley_rain_book_colophonIMG_0186.jpg
Helen_Hawley_rain_book_jacket_2IMG_0189_1.jpg
Helen_Hawley_Rain_Book_IMG_0053.jpg
Helen_Hawley_Performancy_Forum.jpg
  Volume & the Void,  live performance, Brooklyn, NY, Oct. 2015 
  Volume & the Void,  live performance, Brooklyn, NY, Oct. 2015
  Volume & the Void,  live performance, Brooklyn, NY, Oct. 2015
Helen_Hawley_Volume&Void_Projgram.jpg
Helen_Hawley_Vocabulary_of_Signs_cover051914.jpg
Helen_Hawley_Vocabulary_of_Signs_title051914.jpg
Helen_Hawley_Vocabulary_of_Signs_curbed051914.jpg
Helen_Hawley_Vocabulary_of_Signs_observed051914.jpg
Helen_Hawley_Vocabulary_of_Signs_Reserved051914.jpg
Helen_Hawley_Vocabulary_Signs_colophon051914.jpg
  Idle Words , Xerox on film, light fixtures, kozo, gold letters, 2014, 16' x 2'
  Idle Words  [detail]
  Idle Words  [detail]
  A Hold on Me , annotated photograph, 2014, 7 ½" x 9”  My love letter to the dictionary titled after “You Really Got a Hold on Me” by Smokey Robinson and the Miracles.
  An Exclamation Is, annotated photograph, 2014, 7 ½" x 9”
  An Exclamation Is  [detail]
  pH , lithograph, 2014, 24" x 33"
  Plasma , lithograph, 2014, 11" x 14"
  Plasma , lithograph, 2014, 11" x 14", text by Dennis Overbye, "What You Can’t See Is Even Cooler ‘Dark Universe,’ at the Hayden Planetarium." New York Times, Oct. 31, 2013
  Ranked and Filed , etching, 2012, 8 1/2' x 8'
  Ranked and Filed  [detail]   
  Recording , lithograph, 2012, ed. 5, 25" x 34"
  Gatefold , lithograph, ed. 5, 2012, 25” x 34"
  Regulation , lithograph, ed. 5, 2013, 25” x 34"
  Leaves , etching, 2013, ed. 5, 25" x 34”
  Field Volume , lithograph, ed. 5,  2012, 100” x 35"  [page 1/2]
  Field Volume , lithograph, ed. 5,  2012, 100” x 35"  [page 2/2]