LISELLI
SECOND THOUGHTS ON DECOLOGY
ARTIST BOOK (2025)
ARTIST BOOK (2025)
Handmade paper, collages, lino-cut printed text
inspired by ritual-workshops.
20 cm x 20 cm x 2 cm..
unique print.
inspired by ritual-workshops.
20 cm x 20 cm x 2 cm..
unique print.
Book excerpt :
A. “… using this hybridity concept thing as a way to fight against the boxes. Because then that means you can’t be, you don’t belong in one box, you belong in so many boxes that they can’t place you, then you have to be broken to fit in…” (notes from decologising sisters meeting nr 7)
Y. Does community become a category? It’s more like a fluid category in a way then no? (thoughts from decologising sisters meeting nr 6)
F. “Hybridity is also seen in the context of multiculturalism, cosmopolitanism, transculturalism, no? ” brings up I, cautiously.
“But also animism not so?” smiles the Silk Cotton Tree
(inspired from decologising sisters workshop nr 6)
R. Audre Lorde’s words connect with those of Sylvia Wynter’s plantation societies when she writes “the principal horror of any system which defines the good in terms of profit rather than in terms of human need, or which defines human need to the exclusion of the psychic and emotional components of that need- the principal horror of such a system is that it robs our work of its erotic value, its erotic power and life appeal and fulfillment.”
Y. Does community become a category? It’s more like a fluid category in a way then no? (thoughts from decologising sisters meeting nr 6)
F. “Hybridity is also seen in the context of multiculturalism, cosmopolitanism, transculturalism, no? ” brings up I, cautiously.
“But also animism not so?” smiles the Silk Cotton Tree
(inspired from decologising sisters workshop nr 6)
R. Audre Lorde’s words connect with those of Sylvia Wynter’s plantation societies when she writes “the principal horror of any system which defines the good in terms of profit rather than in terms of human need, or which defines human need to the exclusion of the psychic and emotional components of that need- the principal horror of such a system is that it robs our work of its erotic value, its erotic power and life appeal and fulfillment.”
COLLECTION OF THOUGHTS
ON RITUAL AS METHOD &
ON THE WORKSHOP AS RITUAL
ARTIST BOOK (2024)
ON RITUAL AS METHOD &
ON THE WORKSHOP AS RITUAL
ARTIST BOOK (2024)
Riso print, 140 gsm paper.
13.8 x 13.8 x 0.5 cm.
12 copies.
13.8 x 13.8 x 0.5 cm.
12 copies.
Book excerpt :
These Collection of Thoughts were an exercise I gave myself to think more about ritual and the workshop as artistic research methods. This exercise was to help me inform my practice in relation to my current research work RITUALS TALKING DECOLOGY (2024-ongoing).
On Ritual as method
I challenged myself to a mini-ritual of taking two pictures of the cherry tree in the garden, and also spending 5 minutes sensing its surroundings, once a day. This ritual lasted three days. I learn and remember by re-doing, so in this case, it was while re-drawing these pictures that the thoughts came to mind and I wrote them down then and there. They are in effect, part of a whole. They function fine as separate paragraphs, but they also make more sense together.
On The Workshop as ritual
I challenged myself to a mini-ritual of de-seeding radish seeds from their pod, which were in turn harvested from the land I am the steward of. The repetition of the action allowed me to ground myself into what I was doing. While there was no awared sensing happening, I felt a strange familiarity with the process, echoed in memories of similar actions from my past. I learn and remember by re-doing, so in this case, I re-created and played with the seed pods and seeds and took pictures. It is from looking at the pictures that the thoughts came to mind and I wrote them down then and there. They are in effect, part of a whole. They function fine as separate paragraphs, but they also make more sense together.
UNDER THE SILK COTTON TREE
AND OTHER WORDS
ARTIST BOOK (2023)
AND OTHER WORDS
ARTIST BOOK (2023)
cotton canvas pages, sissal rope,
natural dyes (carrot, cutch, reinfann),
rice paper with riso-printed text,
white cotton thread.
15x15cm.
natural dyes (carrot, cutch, reinfann),
rice paper with riso-printed text,
white cotton thread.
15x15cm.
An artist book that is an imaginative narrative space that explores the relationship between fibre and storytelling on several levels, based on my inherited fibre-knowledge.
The awareness and importance of generational knowledge is intertwined with the fragments of stories, memories lan-guage, terms and expressions related to fibre. This opened up a fresh awareness for fictional and non-fictional writing as a method for researching and analyzing, and as artworks in their own rights.
The texts in the artist book are a precursor to the ongoing body of texts I am working on such as The Rhyzomatic Third Tree (2024-2025), Collection of Second Thoughts on Decology (2025).
(RE)LEARNING TREE-TIME SCRAPBOOK
ARTIST BOOK (2024)
pictures from first part workshops,
own thoughts and notes, paper,
saddle stitch binding.
21x29cm
A scrapbook for processing the thoughts, notes and dialogues from the (Re)learning Tree-Time workshops (Pt 1, May 2024).
The artist book making process gathers all thoughts in one place. This gathering has the double role of communicating the processes and of fuelling inspiration for futher artworks.