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Jan Owen's work as a graphic designer and printmaker couldn't readily accommodate motherhood, but calligraphy proved a forgiving art: In seconds, she could lay down the pen and pick up one of her newborn twins. Twenty-six years later, she continues the practice of calligraphy. Often categorized as a "book artist," Owen creates "books" that defy restraints and definitions. In her upstairs studio at the back of her Bangor home, she unites words with paste paper, paint, ink, and weavings-of Tyvek, dollar bills, and more-to create works layered with history and blistering with movement and color. Her work is shown in galleries across the country, as well as internationally.
You began calligraphy when your twins were born, 26 years ago. Have other life changes influenced your work?
Definitely. In the beginning, I lettered a lot of awards and invitations, and addressed thousands of envelopes. I was also pretty sick with what was ultimately diagnosed, in 1992, as celiac disease [an autoimmune reaction to wheat]. That's when I said the mornings are going to be my time to explore. And so here I am today, still exploring [her hand sweeps the room, filled with "regular" books and "art" books, and she laughs].
What is a book artist?
[She laughs again.] I'm an artist and I make books. I don't see myself as a "book artist." Labels are box-makers. So many traditions feed this work. Japanese scrolls, abstract paintings. I saw a 10th-century manuscript when I was in Wales, and the basket weaving a friend does is what started me weaving pieces into my work. I love the idea that this work embodies the relationship between past and present, old and new. It's about communication, in multiple languages. At first, I didn't use any weaving, but now it's like another "code."
What about color? Your color is so strong, dynamic. Is that a language, too?
It wasn't always. Once I started to make paste paper, I think it became more so. I use a recipe from a book published in 1788. It's an old German method of decorating paper, using cooked flour, water, and pigments. It's so tactile, like working with finger paints. But it dries flat.
I'm surprised by how surprised I am by your work. Is that intentional?
[Owen laughs.] I do want that feeling of "Wow, what is this?" . . . Back to 1992: When I got better, I realized that I just wanted to make things that are beautiful. Maybe I'm old enough now, I'm all for truth and beauty. Deconstruction, goodbye. Cynicism, no, thank you, there's enough. I had to ask myself, what do I want to do?
Where do you get the words?
Everywhere. Rachel Carson, Emily Dickinson, Wes McNair. I use psalms, phrases, poems . . . the Constitution. Last year, in order to make sense of the elections, I lettered the whole Constitution. Who would have figured that would lead to my first Percent for Art project, for the Knox County Courthouse [a project of the Maine Arts Commission]?
There's a strong sense of movement in all of your work. Where does that come from?
The layering is sort of, I think, like the layering in music. I listen to classical music when I work. I played with the Bangor Symphony for years [string bassist]. Rhythm is key in music and in calligraphy. Growing up, at home, I only heard hymns and Broadway show tunes but in fourth grade, I heard Peer Gynt Suite and that was it for me. [Laughter] I think everyone has a quirky gene. That was mine. Just think of what the work would look like if I'd been into Broadway or blues or [real laughter] country western.
More of Jan Owen's work can be seen at www.janowenart.com.
SIDEBAR: THE OWEN FILE
SELECTED EXHIBITS
Center for Book Arts 30th Anniversary Portfolio, Center for Book Arts, NYC (July 2005)
Books by Hand, Bangor Public Library, Bangor
Work of the Hand, Center for Maine Contemporary Art, Rockport
Book as Art XV, National Museum of Women in the Arts, Washington, D.C.
Matter & Spirit,Wells Book Art Center, Aurora, NY
International Calligraphy Exhibition, Osimo, Italy
Women in the Arts, Colby College Museum of Art, Waterville
Book Arts, Flaxman Library, The School of the Art Institute of Chicago
SELECTED AWARDS
First prize, Il Santo Dei Voli San Giuseppe da Copertino
Gruppo per le Arts Applicate di Osimo, Italy
First prize, Craft America, Silvermine Guild Arts Center, New Canaan, CT
Judge's Merit Award, Makers '93, Portland Museum of Art
SELECTED TEACHING
Haystack Mountain School of Crafts, Deer Isle (including October 2005)
Oregon College of Art & Craft, Portland, OR
School residencies in Maine and Vermont
REPRESENTED BY
Joshua Heller Rare Books, Washington, D.C. Turtle Gallery, Deer Isle, ME
You began calligraphy when your twins were born, 26 years ago. Have other life changes influenced your work?
Definitely. In the beginning, I lettered a lot of awards and invitations, and addressed thousands of envelopes. I was also pretty sick with what was ultimately diagnosed, in 1992, as celiac disease [an autoimmune reaction to wheat]
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What is a book artist?
[She laughs again.] I'm an artist and I make books. I don't see myself as a "book artist." Labels are box-makers. So many traditions feed this work. Japanese scrolls, abstract paintings. I saw a 10th-century manuscript when I was in Wales, and the basket weaving a friend does is what started me weaving pieces into my work. I love the idea that this work embodies the relationship between past and present, old and new. It's about communication, in multiple languages. At first, I didn't use any weaving, but now it's like another "code."
What about color? Your color is so strong, dynamic. Is that a language, too?
It wasn't always. Once I started to make paste paper, I think it became more so. I use a recipe from a book published in 1788. It's an old German method of decorating paper, using cooked flour, water, and pigments. It's so tactile, like working with finger paints. But it dries flat.
I'm surprised by how surprised I am by your work. Is that intentional?
[Owen laughs.] I do want that feeling of "Wow, what is this?" . . . Back to 1992: When I got better, I realized that I just wanted to make things that are beautiful. Maybe I'm old enough now, I'm all for truth and beauty. Deconstruction, goodbye. Cynicism, no, thank you, there's enough. I had to ask myself, what do I want to do?
Where do you get the words?
Everywhere. Rachel Carson, Emily Dickinson, Wes McNair. I use psalms, phrases, poems . . . the Constitution. Last year, in order to make sense of the elections, I lettered the whole Constitution. Who would have figured that would lead to my first Percent for Art project, for the Knox County Courthouse [a project of the Maine Arts Commission]?
There's a strong sense of movement in all of your work. Where does that come from?
The layering is sort of, I think, like the layering in music. I listen to classical music when I work. I played with the Bangor Symphony for years [string bassist]. Rhythm is key in music and in calligraphy. Growing up, at home, I only heard hymns and Broadway show tunes but in fourth grade, I heard Peer Gynt Suite and that was it for me. [Laughter] I think everyone has a quirky gene. That was mine. Just think of what the work would look like if I'd been into Broadway or blues or [real laughter] country western.
More of Jan Owen's work can be seen at www.janowenart.com.
SIDEBAR: THE OWEN FILE
SELECTED EXHIBITS
Center for Book Arts 30th Anniversary Portfolio, Center for Book Arts, NYC (July 2005)
Books by Hand, Bangor Public Library, Bangor
Work of the Hand, Center for Maine Contemporary Art, Rockport
Book as Art XV, National Museum of Women in the Arts, Washington, D.C.
Matter & Spirit,Wells Book Art Center, Aurora, NY
International Calligraphy Exhibition, Osimo, Italy
Women in the Arts, Colby College Museum of Art, Waterville
Book Arts, Flaxman Library, The School of the Art Institute of Chicago
SELECTED AWARDS
First prize, Il Santo Dei Voli San Giuseppe da Copertino
Gruppo per le Arts Applicate di Osimo, Italy
First prize, Craft America, Silvermine Guild Arts Center, New Canaan, CT
Judge's Merit Award, Makers '93, Portland Museum of Art
SELECTED TEACHING
Haystack Mountain School of Crafts, Deer Isle (including October 2005)
Oregon College of Art & Craft, Portland, OR
School residencies in Maine and Vermont
REPRESENTED BY
Joshua Heller Rare Books, Washington, D.C. Turtle Gallery, Deer Isle, ME
