University of Iowa
Iowa Research Online
Theses and Dissertations
Spring 2015
Pathways to new understanding
Candida Pagan
University of Iowa
Copyright 2015 Candida Pagan
This thesis is available at Iowa Research Online: http://ir.uiowa.edu/etd/1717
Recommended Citation
Pagan, Candida. "Pathways to new understanding." MFA (Master of Fine Arts) thesis, University of Iowa, 2015.
http://ir.uiowa.edu/etd/1717.
Follow this and additional works at: http://ir.uiowa.edu/etd
Part of the Book and Paper Commons
PATHWAYS TO NEW UNDERSTANDING
by
Candida Pagan
A thesis submitted in partial fulfillment
of the requirements for the Master of Fine Arts
degree in Book Arts in the
Graduate College of
The University of Iowa
May 2015
Thesis Supervisor: Associate Professor Julia Leonard
Copyright by
CANDIDA PAGAN
2015
All Rights Reserved
Graduate College
The University of Iowa
Iowa City, Iowa
CERTIFICATE OF APPROVAL
____________________________
MASTER’S THESIS
_________________
This is to certify that the Master’s thesis of
Candida Pagan
has been approved by the Examining Committee for
the thesis requirement for the Master of Fine Arts degree
in Book Arts at the May 2015 graduation.
Thesis Committee:
____________________________________________
Julia Leonard, Thesis Supervisor
____________________________________________
Timothy Barrett
____________________________________________
Sara Langworthy
____________________________________________
Katherine Tachau
____________________________________________
Elizabeth Yale
PUBLIC ABSTRACT
The conceptual foundation for my creative thesis work is based in research into the
development of science, particularly the field of cosmology, and its related visual
vocabulary. Three interrelated projects encompass my interests in unique artists’ books
and variable editions, research based projects, codified presentation of data, and universal
interconnectedness, or oneness in all things, that was at the heart of medieval cosmology
and is embraced by some 21st century subcultures.
The thematic timeline of the artwork spans developments in the Early Middle Ages
related to astronomy and cosmology and through 20th century guidebooks and NASA’s
social media accounts. The resulting artwork includes an artist’s book, sculptural
bookwork, monoprints, and an edition of broadsides.
ii TABLE OF CONTENTS
LIST OF FIGURES ........................................................................................................ IV
PATHWAYS ................................................................................................................... 1
NEW PATHWAYS ......................................................................................................... 3
DIGRAPH PRESS ........................................................................................................... 7
CONCLUSION ................................................................................................................ 9
IMAGES ........................................................................................................................ 10
iii LIST OF FIGURES
Figure 1. Byrhtferth’s Diagram; Computus Diagrams ................................................... 9
Figure 2. Nebula, watercolor on mylar ......................................................................... 10
Figure 3. Explorer 1, screen-print monoprint on Arches 88 and mylar ....................... 11
Figure 4. Primum Mobile, screenprint on mylar .......................................................... 12
Figure 5. Diagrams of the Copernican, Ptolmeic, and Tychonic models ..................... 13
Figure 6. Burning drawings for Hemispheres .............................................................. 14
Figure 7. Hemispheres (detail) ..................................................................................... 15
Figure 8. Hemispheres .................................................................................................. 16
Figure 9. The Eccentricity is Zero: 1. Aristotle ............................................................ 17
Figure 10. The Eccentricity is Zero: 2. Ptolemy ........................................................... 18
Figure 11. The Eccentricity is Zero: 3. Copernicus ..................................................... 19
Figure 12. The Eccentricity is Zero: 4. Tycho Brahe ................................................... 20
Figure 13. The Eccentricity is Zero: 5. Johannes Kepler ............................................. 21
Figure 14. The Eccentricity is Zero: 6. Galileo Galilei ................................................ 22
Figure 15. The Eccentricity is Zero: 7. Isaac Newton .................................................. 23
Figure 16. The Eccentricity is Zero: 8. Eighth Heaven ................................................ 24
iv PATHWAYS
The conceptual foundation for my most recent body of artwork is based in
research into the development of science, particularly the field of cosmology, and its
related visual vocabulary. Three interrelated projects encompass my interests in unique
artists’ books and variable editions, research based projects, codified presentation of data,
and universal interconnectedness, or oneness in all things, that was at the heart of
medieval cosmology and is embraced by some 21st century subcultures.
The thematic timeline of the artwork begins with developments in the Early
Middle Ages related to astronomy and cosmology. From visual depictions in scribal
copybooks, such as Byrthfyrth’s diagram (Fig. 1) St. John’s College MS17, exemplifying
the unified vision of the macrocosmic universe seen within the microcosm of man that
was once common, through landmark books like De Revolutionibus by Copernicus,
Astronomia Nova by Johannes Kepler, Sidereus Nuncius by Galileo, and Newton’s
Principia, to 20th century astronomy guidebooks and digital images shared online by
NASA; ideas and images presented that are connected to the development of
humankind’s understanding of the universe have inspired my creative output. The
resulting artwork includes artist’s books, sculptural bookwork, monoprints, and a fine
press edition of broadsides.
The process of inquiry often uncovers new unknowns. As cosmologists and
astronomers moved from firm belief in geocentrism (Earth at the center of the solar
system) to the Copernican theory of heliocentrism (Sun at the center) in the Early Modern
Era, there arose a need for new physics. If the Earth was no longer the center of the
1 universe because of its material heaviness, how did we stay on it? Answers for old
questions paved the way for new questions. Methods are followed to facilitate scientific
research, but it also seems that an immense amount of guesswork goes into the process of
discovery. For example, in 2014, an interesting event took place within the scientific
community: gravitational waves thought to provide concrete evidence of the Big Bang
were “discovered” light years away. The findings were shared through major news
sources and caused much excitement. Independent analysis of the discovery suggests that
it is not evidence of primordial gravitational waves that are visible, but rather, space dust.
How incredibly frustrating it must be to come so close to having proof for what may be a
physical reality, only to have those findings vanish into dust. To suggest, to convince, to
prove, and to continue seeking answers in the face of potential failure or discovery is a
process that has not changed. Curiosity has led us to ask questions and search for answers
through philosophy and science for ages. As a result, new materials are invented,
technological advancements are made, and incremental shifts develop in how we think
we understand the universe. The inherent sense of wonder in relation to what is or is not
possible seems to be present always.
My creative process involves asking questions. These questions do not necessarily
lead to concrete answers; more often, they lead to more questions. I am interested in
addressing how humankind’s knowledge base expands, where it begins, and how it
evolves. Which discoveries change the course of knowledge seekers? What discoveries
have allowed humankind to move further and further from the elements of mysticism that
were once deeply embedded in our understanding of microcosmic man’s place within the
macrocosmic universe?
2 NEW PATHWAYS
In addition to biblical study, 8th century European monks studied natural science
from such works as Etymologies, by Isidore of Seville (560-636CE), which “contains a
compendium of much of the essential learning of the ancient Greco-Roman and early
Christian worlds”1. Book XIII of Etymologies addresses the “Circles of Heaven” and
begins with, “Our dwelling place is divided into zones according to the circles of the
sky…”2 The concept of a geocentric solar system held fast centuries until Copernicus
published De Revolutionibus orbium coelestium in 1543, proposing the heliocentric
model we believe in today3. What steps are necessary to change the way we understand
the universe? Is it possible to backtrack? Certainly missteps have been made in the
process of defining a cosmology, the Earth is not the center of the universe, but the visual
representations of misunderstanding are still fascinating and provide an entry into modes
of thinking. Schematics of the paths of celestial bodies supplement informational texts
from the beginning of cosmological study. How have these visual aids developed and
worked to promote the spread of knowledge and the sharing of information? The level of
detail involved and the clarity they offer the reader varies depending on the intended
audience for the work.
This line of thought led me to create a pair of mylar books, Nebula and Primum
Mobile. In both books, the optical qualities of the material serve an important role in how
1
Stephen A. Barney, “Introduction”, The etymologies of Isidore of Seville. (Cambridge, UK: Cambridge
University Press, 2006), 3.
2
Barney, XIII, V. 7-ix, 273. 3
Owen Gingerich, The Book Nobody Read: Chasing the Revolutions of Nicolaus Copernicus (New York:
Walker & Company, 2004), 2.
3 the books are experienced. While looking through a single layer, the mylar seems clear,
but accumulated pages become translucent and then nearly opaque. This creates a strange
mirror-like vision in which the viewer is at once looking at themselves, at images on the
top layer, and at murky imagery on lower layers. The viewer is able to see that something
exists but is unable to clearly see what that something is. As the viewer pages through the
book, under-layers become more visible, but the beginning pages have become obscured.
New information replaces the old.
Nebula is a handpainted book of 5 x 5 inch watercolor paintings on mylar
polyester film. The imagery is nebulous and reminiscent of NASA photos of distant
skies: an inexact illustration of space and the goings-on out there. Photographs and
artists’ renderings from NASA’s Instagram social media account related to 20th and 21st
century astrophysics served as a visual source. Allusions to constellations and planetary
paths through space are scattered throughout the book. The book measures 6 x 8 inches,
allowing the viewer to hold the book in-hand while looking through the pages. Images
change as the viewer leafs through the book and come together in new ways as the viewer
switches their gaze from recto to verso. While exploring material possibilities for this
book, I made a set of screen-printed monoprints (Fig. 3). The monoprints are composed
of six squares: a color field is printed on paper, and watercolor drawings are printed onto
mylar using a transparent base. The paper and mylar are paired together to make a wallpiece that references the bound book in color and compositional content.
Primum Mobile contains screen-prints of line drawings and handwritten notes and
definitions (Fig. 4). It measures 8”x6”. Images are derived from and inspired by
Byrhtferth’s Diagram, the diagrammatic portrayal of the Ptolemeic, Tychonic, and
4 Copernican solar system models found in Astronomia Nova (Fig. 5), by Johannes Kepler,
constellations in Sidereus Nuncius (Fig. 5), by Galileo Galilei, and imagery from 20th
Century astronomy guidebooks. As in Nebula, imagery comes apart as pages of the book
are turned, and comes back together as the viewer looks to the verso of each page.
Primum Mobile is slightly more complex, as one element of an image is printed on each
page. In addition to printing line drawn imagery, I printed related terms, notes, and poetic
definitions of those terms. Each term accompanies a specific image. A small portion of
text is printed on a page and the text is interspersed throughout the drawing it
accompanies. The purpose of the book is to serve as a reflection on how information
evolves.
In another creative response to the macrocosmic-microcosmic relationship
between man and the universe, I explore the use of handmade paper in sculptural form as
a means of assimilating ancient cosmology. The process of making the vessels of
Celestial Bodies, provides space for elements of mysticism and oracle to exist in my
artwork. In addition to the scientific cosmological philosophies such as the Platonic,
Tychonic, and Cartesian models, I am drawn to the interconnectedness of the macromicro scheme and I find the imagery associated with this field fascinating and integral to
understanding it, or at least attempting to.
The process of painting and molding sheets of paper, drawing with ink and
burning line drawings into the vessels in a reflective, methodical manner suggests a
personal divinatory practice (Fig. 6). As the paper is molded into bowl shapes, the
practice of making and brushing on paste, carefully placing sheets over the mold, and
gently pressing them into shape are reminiscent of ritualistic practices and formalized acts
5 of preparation. When the bowls are dry, excess material is burned away and the interior is
imbued with a burned line (Fig. 7, 8). The acts of burning away excess and adorning with
symbolic imagery is again informed by ritual and a meditative practice. The forms these
lines make reflect the practice of computing time, of finding my place in that time, of
reflecting on how placement of celestial bodies influence terrestrial bodies. Because
earlier philosophers in the field often relied on mythologies to explain existence, elements
of mysticism seem all pervasive. Terms like astrology and astronomy, for example, could
be used interchangeably, unlike today.
The hemispherical paper vessels behave in accordance with what I find
particularly fascinating about working in book form. The active space between nested
vessels suggests pages and encourages the viewer to investigate, to learn more. Each
individual vessel acts as a unique entity, but must also be seen as part of a whole.
Unbound, the paper vessels allow the viewer freedom to form their own groupings.
Bound volumes behave differently, restricting the viewer to the artist’s specified
narrative, but still encourage a type of search for links between pages.
6 DIGRAPH PRESS
Throughout my time at the University of Iowa as a Center for the Book student,
producing collaborative fine-press publications under the imprint of Digraph Press has
played an important role in my creative life. Each year, Digraph Press has released a
broadside and/or chapbook written by a selected author, designed and printed by me, with
active communication between the author and myself. I see the work as collaborative
because I strive to maintain open channels of communication to get a grasp on the
author’s aesthetic sensibility and discover where it aligns with mine. I also try to include
an author in some stage of the making if possible.
The latest Digraph Press edition is a suite of eight broadsides (Fig. 9-16). While
researching early cosmology, I contacted poet Lauren Haldeman. She and I decided on
eight categories based on my vein of study at the time: Aristotle, Ptolemy, Copernicus,
Johannes Kepler, Tycho Brahe, Galileo Galilei, Isaac Newton, and Eighth Heaven.
Throughout the next several months, we met regularly in person and shared files through
Google Drive. I sent her bits of lines from readings that I found compelling, thematically
linked television episodes, biographical stories, and timeline information. For example:
Aristotle (384-322 BCE)
The universe is spherical and finite. Spherical, because that is the most perfect
shape; finite, because it has a center, and a body with a center cannot be infinite.
Ptolemy (90-168CE)
Ptolemy named 48 constellations: Ursa Minor, Ursa Major, Draco, Cepheus,
Bootes, Corona Borealis, Hercules, Lyra, Cygnus, Cassiopeia, Perseus, Auriga,
Ophiuchus, Serpens, Sagitta, Aquila, Delphinus, Equuleus, Pegausu, Andromeda,
Triangulum, Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpius,
Sagittarius, Capricornus, Aquarius, Pisces, Cetus, Orion, Eridanus, Lepus, Canis
Major, Canis Minor, Argo, Hydra, Crater, Corvus, Cantaurus, Lupus, Ara, Corona
Australis, Piscis Austrinus
Epicycles: small circles going around a larger circle in revolution
7 Copernicus (1473-1543)
Copernicus’ On the Revolutions of the Heavenly Bodies was published when he
was on his deathbed. In it, he proposed that the Sun, not the Earth, was the center
of the Solar System. The heliocentric system. Planets were reordered.
Newton/Eighth Heaven
Watch the episode titled “A Sky Full of Ghosts” from the latest version of
Cosmos with Neil Degrasse Tyson.
She responded with eight poems, one for each category. I handset and letterpress
printed each poem on a half-sheet of handmade paper based on 15th century paper
proportions, then made relief print imagery for each broadside based on both the
background information and the poem written.
In a sense, the process of making the broadsides fully exemplified my process of
understanding new concepts. This collaboration allowed me to gather and see thoughts
about subject matter that had been my primary concern as filtered through another
person’s creative process. Our discussions were illuminating and as I received the poems
from her, my vision of the broadsides became more concrete.
8 CONCLUSION
Following the information path of how humankind understands the universe has
been fascinating. Medieval monk-scholars looked to the work of classical minds in order
to understand the Creation in which they existed; natural philosophers like Copernicus
and Kepler questioned those earlier findings and sought to prove or disprove them
through observation, but their findings initially had limited accessibility. Scientists of the
21st century are able to provide greater transparency regarding their tools and practices,
and their findings are available to a wider public through modern modes of
communication. Information is now more accessible that it has ever been, it is also highly
difficult to control that access. These most recent creative projects held a particular draw
for me because, while I respect science and the foundations of knowledge that exist, I
wonder how exactly we can be sure that knowledge is definitive. These projects were set
in motion by scholarly classwork and they reflect a general pattern in my creative work. I
enjoy the process of discovery and often find myself delving a little further than I expect
into intellectual interests, but this provides creative energy. Perhaps I hold the process of
discovery in higher esteem than the discovery itself, but it is my intention that my
creative output serve as a place where I can successfully present both an intellectual
interest and a visual work of art that engages the viewer.
9 IMAGES
Figure 1. Byrhtferth’s Diagram; Computus Diagrams from the Thorney
Computus Cambridgeshire, England; ca. 1102–10 Saint John’s College,
Oxford, MS 17.
10 Figure 2. Nebula, watercolor on mylar, 2015.
11 Figure 3. Explorer 1, screen-print monoprint on Arches 88
and mylar, 2015
12 Figure 4. Primum Mobile, screenprint on mylar, 2015
13 Figure 5. Diagrams of the Copernican, Ptolmeic, and Tychonic
models of the solar system from Astronomia Nova by
Johannes Kepler, 1509.
14 Figure. 6. Burning drawings for Hemispheres.
15 Figure 7. Hemispheres (detail), Handmade paper, gouache, watercolor,
burned line drawing, 2015.
16 Figure 8. Hemispheres, Handmade paper, gouache, watercolor,
burned line drawing, 2015.
17 Figure 9. The Eccentricity is Zero: 1. Aristotle, Handmade paper,
hand-set type, relief print, 2015.
18 Figure 10. The Eccentricity is Zero: 2. Ptolemy, Handmade paper,
hand-set type, relief print, 2015.
19 Figure 11. The Eccentricity is Zero: 3. Copernicus, Handmade paper,
hand-set type, relief print, 2015.
20 Figure 12. The Eccentricity is Zero: 4. Tycho Brahe, Handmade paper,
hand-set type, relief print, 2015.
21 Figure 13. The Eccentricity is Zero: 6. Johannes Kepler, Handmade
paper, hand-set type, relief print, 2015.
22 Figure 14. The Eccentricity is Zero: 6. Galileo Galilei, Handmade
paper, hand-set type, relief print, 2015.
23 Figure 15. The Eccentricity is Zero: 7. Isaac Newton, Handmade
paper, hand-set type, relief print, 2015.
24 Figure 16. The Eccentricity is Zero: 8. Eighth Heaven, Handmade
paper, hand-set type, relief print, 2015.
25