(San Francisco): 2017. Folio. (9)ff. Ingmire's artistry—his illumination, his calligraphy, his illustrative brushstrokes—here grasps the tactility of poetry alluded to in Robert Sheppard's lines. To Ingmire, "how to scan camouflage orchestrations" is to respond impulsively and boldly; his colors and lines are blissfully unrestrained, and his calligraphy embraces the joy of such spontaneity. Sheppard's poem, of which this is a second variation, itself relies on "angular momentum" and "propulsion" to drive home its conclusion that the happiest creations come forth from innate and compulsive sources. They reference what comes before without idling and gesture to the future without worry. The poem itself is a nod to the past, originating from Sheppard's series in which he writes through some of John Milton's sonnets. This present poem draws upon Miltions' Sonnet XIII to Henry Lawes, the court composer. Ingmire pushes this bridge between music and poetry one step further by tackling Sheppard's writing as a visual effort, compiled while listening to the music of the poem's dedicatee, Steve Coleman, and his album "Synovial Joints."
Ingmire's illustrations are in watercolor, ink, and gilt on paper. Bound in thick teal paper with yapp edges, red paper bands, and multi-colored paper inlays and onlays. Very fine. Item #31066