When Kelm approached artist/designer/calligrapher Suzanne Moore about collaborating on a project, she proposed creating an accordion-style book that could fold out into a shape similar to a garden maze. The idea of the garden maze inspired the rich greens, oranges, and purples that predominate in the book’s coloring, which was the first step in the work’s creation. Kelm used the paper to form interconnecting panels that could fold out into two different shapes. He then gave the book to Moore for finishing. Moore’s fluid cursive style calligraphy appears to be a secret language that leads the viewer/reader along the pathway of each maze.

Painting and calligraphy by Suzanne Moore.

Wire edge binding and enclosure by Daniel E. Kelm.

Pigment, acrylic, and paste on paper, with cloth, magnets, brass rod, soldered brass hinges, and wire edge binding.

Held in a private collection.

Included in the exhibition Poetic Science: Bookworks by Daniel E. Kelm at Smith College Museum of Art.

When Kelm approached artist/designer/calligrapher Suzanne Moore about collaborating on a project, she proposed creating an accordion-style book that could fold out into a shape similar to a garden maze. The idea of the garden maze inspired the rich greens, oranges, and purples that predominate in the book’s coloring, which was the first step in the work’s creation. Kelm used the paper to form interconnecting panels that could fold out into two different shapes. He then gave the book to Moore for finishing. Moore’s fluid cursive style calligraphy appears to be a secret language that leads the viewer/reader along the pathway of each maze.

Painting and calligraphy by Suzanne Moore.

Wire edge binding and enclosure by Daniel E. Kelm.

Pigment, acrylic, and paste on paper, with cloth, magnets, brass rod, soldered brass hinges, and wire edge binding.

Held in a private collection.

Included in the exhibition Poetic Science: Bookworks by Daniel E. Kelm at Smith College Museum of Art.

When Kelm approached artist/designer/calligrapher Suzanne Moore about collaborating on a project, she proposed creating an accordion-style book that could fold out into a shape similar to a garden maze. The idea of the garden maze inspired the rich greens, oranges, and purples that predominate in the book’s coloring, which was the first step in the work’s creation. Kelm used the paper to form interconnecting panels that could fold out into two different shapes. He then gave the book to Moore for finishing. Moore’s fluid cursive style calligraphy appears to be a secret language that leads the viewer/reader along the pathway of each maze.

Painting and calligraphy by Suzanne Moore.

Wire edge binding and enclosure by Daniel E. Kelm.

Pigment, acrylic, and paste on paper, with cloth, magnets, brass rod, soldered brass hinges, and wire edge binding.

Held in a private collection.

Included in the exhibition Poetic Science: Bookworks by Daniel E. Kelm at Smith College Museum of Art.

When Kelm approached artist/designer/calligrapher Suzanne Moore about collaborating on a project, she proposed creating an accordion-style book that could fold out into a shape similar to a garden maze. The idea of the garden maze inspired the rich greens, oranges, and purples that predominate in the book’s coloring, which was the first step in the work’s creation. Kelm used the paper to form interconnecting panels that could fold out into two different shapes. He then gave the book to Moore for finishing. Moore’s fluid cursive style calligraphy appears to be a secret language that leads the viewer/reader along the pathway of each maze.

Painting and calligraphy by Suzanne Moore.

Wire edge binding and enclosure by Daniel E. Kelm.

Pigment, acrylic, and paste on paper, with cloth, magnets, brass rod, soldered brass hinges, and wire edge binding.

Held in a private collection.

Included in the exhibition Poetic Science: Bookworks by Daniel E. Kelm at Smith College Museum of Art.

When Kelm approached artist/designer/calligrapher Suzanne Moore about collaborating on a project, she proposed creating an accordion-style book that could fold out into a shape similar to a garden maze. The idea of the garden maze inspired the rich greens, oranges, and purples that predominate in the book’s coloring, which was the first step in the work’s creation. Kelm used the paper to form interconnecting panels that could fold out into two different shapes. He then gave the book to Moore for finishing. Moore’s fluid cursive style calligraphy appears to be a secret language that leads the viewer/reader along the pathway of each maze.

Painting and calligraphy by Suzanne Moore.

Wire edge binding and enclosure by Daniel E. Kelm.

Pigment, acrylic, and paste on paper, with cloth, magnets, brass rod, soldered brass hinges, and wire edge binding.

Held in a private collection.

Included in the exhibition Poetic Science: Bookworks by Daniel E. Kelm at Smith College Museum of Art.

When Kelm approached artist/designer/calligrapher Suzanne Moore about collaborating on a project, she proposed creating an accordion-style book that could fold out into a shape similar to a garden maze. The idea of the garden maze inspired the rich greens, oranges, and purples that predominate in the book’s coloring, which was the first step in the work’s creation. Kelm used the paper to form interconnecting panels that could fold out into two different shapes. He then gave the book to Moore for finishing. Moore’s fluid cursive style calligraphy appears to be a secret language that leads the viewer/reader along the pathway of each maze.

Painting and calligraphy by Suzanne Moore.

Wire edge binding and enclosure by Daniel E. Kelm.

Pigment, acrylic, and paste on paper, with cloth, magnets, brass rod, soldered brass hinges, and wire edge binding.

Held in a private collection.

Included in the exhibition Poetic Science: Bookworks by Daniel E. Kelm at Smith College Museum of Art.

When Kelm approached artist/designer/calligrapher Suzanne Moore about collaborating on a project, she proposed creating an accordion-style book that could fold out into a shape similar to a garden maze. The idea of the garden maze inspired the rich greens, oranges, and purples that predominate in the book’s coloring, which was the first step in the work’s creation. Kelm used the paper to form interconnecting panels that could fold out into two different shapes. He then gave the book to Moore for finishing. Moore’s fluid cursive style calligraphy appears to be a secret language that leads the viewer/reader along the pathway of each maze.

Painting and calligraphy by Suzanne Moore.

Wire edge binding and enclosure by Daniel E. Kelm.

Pigment, acrylic, and paste on paper, with cloth, magnets, brass rod, soldered brass hinges, and wire edge binding.

Held in a private collection.

Included in the exhibition Poetic Science: Bookworks by Daniel E. Kelm at Smith College Museum of Art.

When Kelm approached artist/designer/calligrapher Suzanne Moore about collaborating on a project, she proposed creating an accordion-style book that could fold out into a shape similar to a garden maze. The idea of the garden maze inspired the rich greens, oranges, and purples that predominate in the book’s coloring, which was the first step in the work’s creation. Kelm used the paper to form interconnecting panels that could fold out into two different shapes. He then gave the book to Moore for finishing. Moore’s fluid cursive style calligraphy appears to be a secret language that leads the viewer/reader along the pathway of each maze.

Painting and calligraphy by Suzanne Moore.

Wire edge binding and enclosure by Daniel E. Kelm.

Pigment, acrylic, and paste on paper, with cloth, magnets, brass rod, soldered brass hinges, and wire edge binding.

Held in a private collection.

Included in the exhibition Poetic Science: Bookworks by Daniel E. Kelm at Smith College Museum of Art.

When Kelm approached artist/designer/calligrapher Suzanne Moore about collaborating on a project, she proposed creating an accordion-style book that could fold out into a shape similar to a garden maze. The idea of the garden maze inspired the rich greens, oranges, and purples that predominate in the book’s coloring, which was the first step in the work’s creation. Kelm used the paper to form interconnecting panels that could fold out into two different shapes. He then gave the book to Moore for finishing. Moore’s fluid cursive style calligraphy appears to be a secret language that leads the viewer/reader along the pathway of each maze.

Painting and calligraphy by Suzanne Moore.

Wire edge binding and enclosure by Daniel E. Kelm.

Pigment, acrylic, and paste on paper, with cloth, magnets, brass rod, soldered brass hinges, and wire edge binding.

Held in a private collection.

Included in the exhibition Poetic Science: Bookworks by Daniel E. Kelm at Smith College Museum of Art.