Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24CYNTHIA BRINICH LANGLOIS The rising and setting sun offers a general guide to direction and creates the rhythm of day and night, with time measured in increments that correspond to its motion. The motif of a circle guides my selection of sites, becoming both a clock face and a compass rose whose circumference I traverse over the course of a 24-hour period, drawing the landscape for three hours at a time from eight points that correspond to the cardinal and ordinal directions. Like historical books of hours with prayers that evoke time of day, I complete each composition during its appropriate interval. In addition to the set of eight cliché verre prints, each book incorporates text describing observations and contemplations recorded while drawing throughout the day and night. The changing conditions of illumination influence the level of detail and contrast rendered on the surface of the plates, and as the darkness obscures the land- scape from view, the compositions are drawn more from memory and imagi- nation than direct observation. This project explores how time of day influences perception, technique, and concentration, and how these traces of the creation of the images tie that print not only to a place, but also to a time. Another book of hours investigates a leafy spurge (Euphorbia esula) that I excavated and observed for one week in my studio. Every day I drew its portrait, documenting its decline. The plant is pretty universally reviled for its toxicity and invasive growth patterns. It is difficult to kill, and I discovered that visible signs of decline slowed after the third day. In the spirit of loathing directed at this plant, I utilized various techniques to hasten its disintegration, which culminated in setting it afire (it does not burn easily). The act of reading the book creates a sense of time passing, so each day exists as a chapter, a fold in a large and winding accordion book. The structure of the book evokes the form of the plant, with its meandering runners reaching ever outward. The pages in each chapter represent the twenty-four hours that comprise a day, and are numbered accordingly. I conducted research on the species, and assembled an archive of descriptive terms used in the scientific literature. These words appear on each page of the book, one word per hour, and transition from neutral/pos- itive to definitively negative over the course of the story, mirroring the condition of the spurge. The color of the pages, too, transitions across each chapter, beginning with the average color of that day’s illustration and changing, page by page, to the average color of the following day’s illustration. The front and back covers are screen-printed with a stylized spurge image, with the ashes of the plant supplying the delicate gray color that tints the transparent ink. Left: Death of a Leafy Spurge (1,3,5,7 of 7), 2014, each 11x14”, watercolor and graphite drawings Above top: Book of Hours:Tipi Circle, 2015, 11x14” closed, cyanotype prints on Incisioni, bound in an 8-page accordion book, digitally printed canvas cover. bottom: 2014 – 2015, Death of a Leafy Spurge, accordion book with screen-printed covered boards and seven sections of digitally printed pages sewn on tapes, and seven watercolor and graphite drawings