Pigment on Moab Entrada. Square flexigon structure with wrapper, 6 x 6 inches, edition of 36. $65
Cover: Letterpress on St. Armand. Insides: Pigment on Mohawk Superfine. Original Poem. 4 x 4 inches, edition of 28. $20
Cover: Somerset Black Velvet. Insides: Oil based relief on Lokta. Wrapper: Lignin free Glama. Original Poem, Embedded folios with pamphlet stitch. 16 x 7 inches, edition of 7. $310
Cover: Oil-based wood relief on Somerset Black Velvet. Image & Text: Oil-based wood relief on Somerset White Velvet. Accordion fold. Created for â€śAn Inventory of Al-Mutanabbi Street,â€ť a project of The Al-Mutanabbi Street Coalition, a global book arts’ response to the car bombing of Al-Mutanabbi Street in Baghdad on March 5, 2007. In designing the book I wanted aspects of the form to communicate aspects of the complexity of the content, that are not overtly stated in the text. I chose wood relief because I wanted the look of the pages to have a hand-printed aesthetic to reflect the long history of books, the printed word, and the street itself. 5.75 x 4.625 x .5 inches, dition of 17. $185
Cover: Photopolymer relief on St. Armand. Image & Text: Pigment on Somerset. Accordion fold with pamphlet stitch. 4 x 4 x .5 inches, edition of 57. $58
Cover: Epson pigment and oil-based intaglio, Image and Text: Epson pigment and oil-based relief on Awagami IJP Bamboo. Original Poem, 8 x 7.5 x .25 inches, edition of 5. $280
CD collection of electronic flipbooks created from 1997 â€“ 2011, includes descriptive booklet. Cross-platform: Mac/PC. 5 x 5 inches. $60
Laser cut pigment prints with ephemera. A five page spread movable book created with
Karen Chew, 9 x 9 inches (closed), edition of 28. $300
Cover: St. Armand with hand stitching, pages: Mohawk Superfine, original poem, 20.5 x 6 inches, edition of 7. $240
Cut pages from Aesthetics, beeswax, silk thread, beads, approximately 3 x 4 inches, unique. $450
My work starts with a question. Some unanswered phenomenon will go nagging around my gray matter, repeating itself in hushed, slightly obsessive tones until I satisfy with researchâ€š extensive research, and then a response. While it is the research that points me to answers, it is the actual making of the work, completing the project that satisfies the question.
My interests include: language, personality, difference, beliefs, systems, ideas, movement, reflection, identity, perceptions, structures, stories, socialization, definitions, context, memory, experience, change, and residue.
California native, Nanette Wylde is a conceptual artist, writer and cultural worker making socially reflective, language-based works generally of hybrid media.
Wylde has a great passion for the book as an art object, and as a container and conveyor of thought and imagination. Even so, many of her own works take digital form. They can only be experienced via a computer and fall under the category of Electronic Literature. She thinks of these works as books also.
In addition to creating in book form, Wylde curates exhibitions of artists’ books under the title, Conceptually Bound.
Wylde has a BA in Behavioral Science from San Jose State University. Her MFA is in Interactive Multimedia from Ohio State University. She is Professor of Art & Art History at California State University, Chico where she developed and heads the Digital Media/Electronic Arts Program.