denim covered wood boards, book block sewn with kettle stitch, 2003
photograph of escape* … restrictions apply, opened and fanned out
detail of katazome paper endsheets
title page, escape*…restrictions apply
contents for “escape*… restrictions apply”
second print in “escape*… restrictions apply”, Big Lobster, Mile Marker number can be used to find image on following map.
page 5 of “escape*… restrictions apply” (text and map showing location of Big Lobster)
third image in “escape*… restrictions apply” Big Conch
text and map of location for Big Conch (by Mile Marker)
fourth image in “escape*… restrictions apply, Big Fish
text and map for location of Big Fish (by Mile Marker)
fifth image in “escape*… restrictions apply”, Big Shark
text and map for location of Big Shark (by Mile Marker)
sixth image in “escape*… restrictions apply, Big Rhino
text and map for location of Big Rhino (by Mile Marker)
seventh image in “escape*… restrictions apply, Big Momma and Baby Dolphin
text and map for location of Big Mama and Baby Dolphin (by Mile Marker)
a statistical look at “escape” and its costs/restrictions
page 17, colophon and thanks
katazome covered end sheets of “escape*… restrictions apply
“escape*… restrictions apply,” 11 inches x 15 inches x .5 inc 2003
This is Tom Virgin’s first artist’s book. It is the first of three books examining the concept of “escape” in the context of a trip from Miami to the Florida Keys. During the course of this journey (escape* part one) the artist views various landmarks that break up the miles between Card Sound Road and the 7-mile Bridge. Also addressed along the way are more metaphorical walls, bridges, and escapes of another nature.
“escape*… restrictions apply” is printed on Arches 88, containing 17 pages. The book block is sewn with a kettle stitch, and glued into blue denim covered wood covers, with Japanese Katazome paper end sheets. The book is 11 inches x 15 inches x .5 inch. Fonts used are arial and Scott Ulrich’s Cheap Signage. Content includes an essay by the artist, seven digitally colored original woodcut prints by the artist, and maps showing the location of the images in the prints by Mile Marker in the Florida Keys. Facts and figures about the Keys follow the essay and prints.
cover of Tom Virgin’s artist’s book, Every Pot Has a Lid
title page for “Every Pot Has a Lid,” by Tom Virgin
pages 1-2 of “Every Pot Has a Lid”
page 1, detail from “Every Pot Has a Lid”
pages 3-4 of “Every Pot Has a Lid”
page 3, detail of “Every Pot Has a Lid”
pages 5-6 of “Every Pot Has a Lid”
page 5, detail from “Every Pot Has a Lid”
pages 7-8 of “Every Pot Has a Lid”
page 7, detail for “Every Pot Has a Lid”
pages 9-10 of “Every Pot Has a Lid”
page 9, detail from “Every Pot Has a Lid”
pages 11-12 of “Every Pot Has a Lid”
page 11, detail of “Every Pot Has a Lid”
pages 13-14 of “Every Pot Has a Lid”
page 13, detail from “Every Pot Has a Lid”
page 15 of “Every Pot Has a Lid”
page 16 of “Every Pot Has a Lid”
colophon for “Every Pot Has a Lid” by Tom Virgin
Every Pot Has a Lid 8 inches x 9 inches x 1/4 inch 2003
This book is a fable using simple household objects to express the complexity of relationships. The artist borrows quotations from notable historic figures to unravel and examine the permutations of love. Haiku written by the artist further iluminate this mystery.
A Japanese stab binding encloses inkjet prints of the artist’s original drawings that have been digitally colored. Printed on Unryu paper. Covers are book board covered with brown bark paper. This book is an edition of 20.
