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THE EDWARD GOREY BINDING PROJECT

Posted by edwardgoreyhouse Admin on

Featured below are some of an on-going book arts series we call The Edward Gorey Binding Project currently on display at the Edward Gorey House. This collection of rebound Gorey-authored books are produced by Dallas, Texas book artist Patrice Miller. Patrice has been using Gorey’s actual books as a jumping off place in which to reinterpret the cover. 

In the world of book arts—either new bindings of older works, or original bindings of new works—are usually created as one-offs or very small editions. Unconventional materials may be employed in the design—fabric, handmade papers, plants, buttons—nothing is off-limits except for the text of the book itself. A designer binding attempts to frame the author’s and artist’s work so that the reader experiences the interior of the book in a whole new way—adding to the context without distracting from it.  

 A member of the Guild of Bookworkers and a student of the Dallas Craft Guild, Patrice has challenged herself with the task of creating new bindings for the entire Gorey cannon—a few examples of which are displayed here. There are over a hundred books authored by Gorey—some of which themselves challenge the idea of what a book can be. Thus, the Binding Project also reflects Edward’s own fascination with book arts—the constant pushing at the physical boundaries of what books could do. 

Visit this always rotating of bindery arts in the ballroom at the Edward Gorey House in Yarmouth Port and let us know if you too are inspired to do some bookmaking of your own. Below are covers or interiors of The Arsenical Bun, The Curious Sofa, the Eclectic Abecedarium, The Wuggly Ump, and The Epiplectic Bicycle.

Edward Gorey

Edward Gorey

Edward Gorey

Edward Gorey

Edward Gorey


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Updates From Our Blog

In the Fall of 2019 the Edward Gorey Charitable Trust allowed the House to borrow several boxes of Gorey’s notebooks, journals, folders, and binders of material for use in this year’s exhibit. In pouring over the contents (a nice way to spend a winter) of what would become our 2020 exhibit He wrote it all down Zealously, it quickly became apparent that the List was a defining component. A curator’s lament: the amount of material was overwhelming—and the handwriting challenging—and so the final assembly, whittled down to fit in the House’s galleries, was selected for variety and some semblance of narrative flow.