Ten related concertina books, each unique, which reference the concept of DNA and our ancestry are now in the collection of the Beinecke Library at Yale University. The paper is Arches cover black with a horizontal pocket containing vintage photographs, documents and ephemera. Fragments of text from the colophon are written throughout the pages in graphite. The covers are red and white quilt squares over book board. Each book is 6” x 22.5” folded to 6” x 4”, with 8 pages, housed in a black archival box 6.75” x 4.5” with a tintype on the cover. Information from the colophon reads: DNA Your body contains 50 trillion tiny cells, almost every one of them containing the complete set of instructions for making you. These instructions are encoded in your DNA, (deoxyribonucleic acid), a molecule composed of two chains which coil around each other to form a double helix. In the nucleus of each cell, the DNA molecule is packaged into thread-like structures called chromosomes. There are 23 pairs of chromosomes, one set inherited from the mother and one set from the father, Twenty-two of these pairs look the same in both males and females. The 23rd pair, the sex chromosomes, differ between males and females. Females have two copies of the X chromosome, while males have one X and one Y chromosome. Chromosomes are further organized into short segments of DNA called genes. Each person has the same set of about 20,000 important genes. The genetic information contained in the DNA is called the genetic code. The DNA molecule carries the genetic instructions used in the growth, development, functioning and reproduction of humans and all known living organisms. Over time DNA collects mutations, which are then inherited. By comparing this inherited information, geneticists can infer our evolutionary history and provide clues to a person’s ancestry. This series of books uses vintage materials to evoke the memory of past generations. As unique as we each are, our ancestry has much in common.

Glaciers Melt

I took to Alaska a small journal, 5” x 4” with 24 pages. The cover was made from eco printed leather over stiff paper. The top and bottom of the wrinkled pages had been dipped in either indigo or rust, creating an irregular horizon line. During the trip I drew and painted the mountains with graphite, water color, white gouache and chalk. The text throughout the book reads: Glaciers Melt Glaciers are giant rivers of ice formed over centuries as fallen snow is compressed into layers of ice. They flow out to sea as ice shelves where pieces break off, or calve, to form icebergs. Today, about 10% of land area on Earth is covered with glacial ice. 90% is in Antarctica and 10% is in the Greenland ice cap. Glaciers now lose up to 390 billion tons of ice and snow per year. The largest regional losses are in Alaska, followed by the Southern Andes and the Arctic. Seventy five billion tons of ice from Alaskan glaciers are being lost each year and 95% of the oldest and thickest ice in the Arctic is already gone. If emissions continue to rise unchecked, the Arctic could be ice free in the summer by 2040 and melting on Greenland would double by the end of the century. By that time, ICCP projects that sea level will rise between 4 and 35”. At the high end, it would be an unmitigated disaster. As glaciers melt and oceans warm, ocean currents will continue to disrupt weather patterns. Where and when fish spawn will continue to change and some fishing industries will fail. Wildlife, especially those living on ice, like walrus and polar bears, are also impacted as they lose their land. As storms become more intense, coastal flooding will become more frequent and communities will continue to be displaced and face billion-dollar disaster recovery bills. Addressing the causes of warming ocean and air temperatures are our only hope for slowing or reversing the glacial melt. Intergovernmental Panel on Climate Change Dorothy Simpson Krause, 2019


In Ketchikan, Alaska I made a miniature book using a metal box for mints and totem images from the Totem Heritage Center. It’s 1.5″ x 2.75” with six pages affixed inside the metal box with sliding top

Anne with an “e”

“Anne with an e”, a retelling of L. M. Montgomery’s “Anne of Green Gables”, was begun in Charlottetown, PEI, home of the fictional Anne. To make the journal as I travel, I bought a used copy of the 2018 100th anniversary edition and removed the covers, spine and the eight illustrations. I tore some eco printed papers to size and added a strip of ochre leather that became the spine. Along the way I cut out the black and white illustrations, painted them with watercolor and placed them on the eco printed pages. I added artifacts that I found at Green Gables, , and bound the pages into the spine and covers. When I returned to the studio I used the original spine on a slipcase I made from backboard and a piece of rust colored bookcloth. The book has twenty 5″ x 8″ eco-printed pages with transferred text reading: Anne, an orphan, comes to Green Gables to help siblings Matthew and Marilla. All is not idyllic for the quick-tempered red headed Anne. She hits classmate, Gilbert, with a slate for calling her “Carrots”. Among her many misadventures, Anne takes a dare and falls off a roof. And, trying to dye her hated red hair black, Anne accidentally dyes it green. When Matthew dies, Anne gives up her college scholarship to help Marilla. Gilbert and Anne become more than friends and eventually live happily ever after.


Reproductions of wall paintings from the Akrotiri archeological site on the Greek island of Santorini were used in the interior of this two paged 7.5″ x 5″ book. The cover has slabs of marble-like polymer clay interwoven with cords and thread over natural linen.


A travel journal begun in Morocco uses textural rubbings, patterning and collage, enhanced with oil pastels, paint and marker. A metal mirror, found in Morocco is on the cover with the title added with press-on letters. It’s 6″ x 4″ with 32 pages.

Slumber On

Slumber On is a miniature book, 1.25” x 1”, with 40 eco printed pages and transferred text, coptic bound. The cover is solder over brass with an inlaid image. The text from Victor Herbert and Henry B. Smith’s 1898 Broadway musical, “The Fortune Teller”, reads: Slumber on, my little gypsy sweetheart, dream of the field and the grove. Can you hear me, hear me in that dream land where your fancies rove. Slumber on my little gypsy sweetheart, wild little woodland dove. Can you hear the song that tells you all my heart’s true love.

Civil Wars

Although civil wars are defined as wars between organized groups within the same state or republic, or between two countries created from a formerly united state, the term also seems appropriately applied to individuals whose behavior becomes uncivil during conflict. Based on a Jacob’s ladder structure designed by Susan Joy Share, this variation is a unique interactive box, 9.25” x 6.5” x 2“, with thirty-six 3” x 3” boxes or panels. The panels are collaged with vintage receipts, letters, photographs and fabric, including fragments of a Confederate flag. The boxes contain game pieces, blocks and a lock and key. Various surfaces are exposed as the box is opened from different directions. The enclosure is a clamshell box, 10.5“ x 7.5“ x 3.5“ covered in black and red book cloth. It was completed at the Jaffe Center for Book Arts, Florida Atlantic University, Boca Raton, Florida.


Sing vintage photographs collaged against gold and black patterned paper, “Quebec” is a four page concertina of Arches Cover Black. The front and back covers are board wrapped in polymer clay, painted black, burnished with gold pigment and embedded with found ephemera. “Quebec” is 7″ x 4″ closed, 7″ x 16″ open. It was made in Quebec City, Canada.

Channeling Athena

In 2019, when I was in Athens, I began a book with watercolors of the landscape and collaged images of Athena. When I returned home, I decided to explore my relation to the archetype and wrote a narrative, contrasting my comments with excerpts from Jean Shinoda Bolen’s Goddesses in Everywoman. Because it seemed presumptuous to compare myself to Athena, I printed the narrative on 4 vellum sheets and “hid” them between the drum-leaf pages. Channeling Athena is 7.5″ x 6″ with 10 watercolor and collaged pages and 4 vellum inserts. It has a drum-leaf binding with the cover of vintage white leather over board.